Meridian
The commission arrived as a single sentence: "Something you can hold, but that holds you back." A private collector in Edinburgh wanted a piece for a reading table — small enough to be moved, weighted enough to resist it. The answer came from studying the moment a plumb bob reaches equilibrium: the point where gravity and suspension become indistinguishable from intention.
"Weight is not a property of the object. It is a relationship between the object and the hand."
Commission — Private Collection, Edinburgh
Maquette
Surface work
Investment
Threshold
An interior architect sourcing work for a converted textile mill asked for something that acknowledged the building's industrial past without illustrating it. The threshold — the moment of crossing — became the subject: a steel form that reads as a doorway from one angle, a collapsed frame from another, and something wholly abstract from a third. The oak element is salvaged from the original mill floor, its grain running perpendicular to the steel's rolled edge.
"The building already knew what it wanted. I was there to listen for it."
Commission — Hartley & Marsh Interiors — Manchester
Welding
Dry fit
Install
Cairn Array
A civic commission for the plaza of a new cultural centre in the North. The brief specified "permanence and movement simultaneously" — the paradox that defines public sculpture in exposed northern light. Forty-seven limestone forms, each carved to a different internal geometry, are suspended from stainless rods at varying heights. In still air the piece reads as geological deposit. In wind, it becomes a clock, each element registering its own moment. The carving took eleven months. The installation, two weeks in December.
"Forty-seven decisions made over eleven months, invisible in the finished work. That is the only way."
Commission — Northfield Cultural Trust — Public Commission
Selection
Carving
Array test
Every piece begins
before the first mark.
Working between a converted foundry in the industrial quarter and a smaller stone studio in the hill country, the practice spans intimate cast-bronze objects to multi-ton site-specific installations. Commissions have been installed in civic plazas, private residences, and three permanent museum collections.
The work resists easy categorization — it draws on geological time, industrial process, and the particular quality of light in spaces that have been emptied of their original purpose. Form is never decorative; it is always structural.
14
Solo Exhibitions
31
Public Commissions
9
Collections
15
Years Active
Fifteen Years of
Making
Eighty pages of process photography, artist statements, and unpublished studio notes. Something worth printing and pinning to your own wall.
For serious enquiries
Request a Studio Visit →