His work is concerned with fragmentation, remaking, reconnection and wholeness and the potential of materials to interact, change and transform particularly in response to eternal forces such as heat or pressure. 


Working in this way brings into his work as an artist his experiences of working as a mediator within areas of conflict and disagreement. It is also his response, as an artist, to a world which feels increasingly fragmented and damaged and through which he creates a hope of order, or at least briefly held chaos.
His work is usually small scale which, together with using found or recycled objects and materials, keeps his carbon footprint as low as possible.  He generally works by hand using traditional tools and techniques, a process which, for him, links past present and future as the new work emerges.  The slower process of hand working encourages a way of seeing and then re-seeing the materials and allows new ideas and forms to emerge in a reflective dialogue with the materials which is a key part of his practice.
His recent work continues his interest in the vessel, surely one of the earliest objects made for practical and ritual purposes.  His cracked and repaired bowls, reference the Japanese repair based philosophy Kinsugi and reflect, for him, a cracked and damaged world.  The latest works shown here are pewter and in them the bowl shape is almost completely broken down.  The simplicity and spontaneity of his work and practice  draws on his interest in the work of Japanese and Korean sculptors and artists.
Living and working in sight and sound of the sea has also influenced the shapes and textures explored in these works.  They are very tactile and the free-standing works are designed to be held, with fingers falling naturally into the folds the artist made in them with his hands and in doing so a connection is made.