My artistic practice begins with print. Printmaking provides the perfect equation of control + chaos where I can wage battle with my personal imagery bank, an investigatory process in which certain constants are maintained and everything else varies.

My recent prints and works on paper are closely linked to metal, not only the copper plate itself but the pictorial translation of metal in the form of barbed wire, chainmail, armour: warrior, penitentiary, military, medieval traditions. Marks that tell of such brutal history with fine and delicate lines.

In the same vein, my hanging sculptures, Galmpton Pendents, are an excuse to transform objects that have lived previous lives--perhaps even morbid or tragic ones--into contemplative pieces of tranquil beauty. The relationship to the two genres (print and sculpture) is so close that sometimes an etching may find its way into a Galmpton. The piece you chose may contain parts of rusty jetsam from a Devon boatyard, glass shards from a road accident in Texas or bits of bomb from the Spanish civil war. All of this and my creative processes are part of my arsenal.