I went to school near St Paul’s in the City of London, between the river Thames and the old jewellery and watchmaking district of Hatton Garden. I became fascinated with the early navigational and astronomical instruments that were created in this area, from astrolabes to chronometers, which bridged the gap between art and technology in the perpetual human quest for the nature of reality.
Later I studied jewellery and silversmithing in the same area, learning how to create my own treasures. I created my first collection of precious metal sculptures in 1990.
After many years searching outwardly for hidden treasure, I turned my attention inwardly and began a more spiritual journey. I became a student of a Tibetan Buddhist master, and spent over a decade living at a Buddhist temple in the remote French countryside. There I established a workshop making and restoring sacred Tibetan metalwork, and travelled to India, Nepal and Sikkim where I learned more about sacred art. Inspired by this extraordinary spiritual and natural environment I began to create small sculptures in metal. I returned to London and established a larger workshop where my pieces grew in scale and complexity.
These objects first appear sparkling in my imagination. I try to create them as carefully and accurately as possible by sketching, making models, and resolving complex technical issues. Completing the finished piece often takes several weeks, and uses all of my jewellery, silversmithing and blacksmithing skills.
In this highly automated world I feel it is important for the hand to be sensed in my work. Although I take great care to make each object with as much precision as possible, my metalwork is complete with its tell-tale human imperfections. I love the malleability, durability, preciousness, and magical brilliance that metal provides. I make everything by hand, avoiding 3D printing, which for me is just too perfect and lacks human spirit.
Like a three-dimensional mandala, these circles and spheres represent not only the entire cosmos, but also of each subatomic element within it, both microcosm and macrocosm. This simplest of forms symbolises order and unity within which even the most complex, repetitive organic elements can be expressed clearly and directly. The invisible cyclical flow of energy within nature is a theme that I often return to.
As a jeweller I have spent years exploring how jewellery enhances the body and mind of the wearer. Now, as a sculptor, my goal is to explore how large scale jewels can transform our physical environment and inspire us to go beyond what we see and reconnect with the timeless wonder of the sacred treasure that lie within us all.