An average day in our contemporary social-connected society is filled with thousands of images, ideas, concepts. All secondhand info. All seen through filtered hand-held battery operated lenses.

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… a proud moment to represent #SouthAfrica but also #Africa on an international platform. I hope to see more voices participating and challenge global trends with our own flavor of #glass.

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Making art has always been a journey for me. Although sketches are made, plans scribbled on paper and maps drawn up with inklings of the destination, it is the problem solving and decisions taken on the way that give meaning to my endeavor.

Then the destination is reached…
This is the moment where the sculpture starts to converse on its own, the birth of an idea in a universal language.

Current sculptures and series’ such as Rock View, Silverstone, Grids, Guardians, etc. are all attempts at understanding and exploring the idea of “being human”.

I love imagination and finding the familiar in odd places. As a youngster I used to look up at the clouds and see all kinds of different things in them. What really amazed me was when your gaze left the clouds and returned a few seconds later how much of the previous illusion has changed, that the old man’s face now resembles a grinning crocodile…

Taking stock on my current trajectory I’m noticing myself still exploring these imaginative avenues. Is this not a truly human trait? The pure arrogance! To identify yourself in the detritus of the universe? Even on Mars we have found faces resembling our human identity and given nebulas names such as “Crab” and “Horse Head”. Are these not the places where we identify our gods, within the planets, the sun and the moon?

This must be a sign that we are conscious beings, that we have an imagination and are different to the “other animals” on this pale blue dot. Is this not the fertile ground which birthed our spiritual sensibilities?

Could this trait also be responsible for the basic narrative we call art? Seeing a likeliness of ourselves in a large rock or a tree must have given rise to spirituality, to religion. We are not separate but part of the larger picture. We are part of the universe!

Perception! The pinprick hole of our pupil sucks up all this electromagnetic radiation of the “visible” spectrum. These illusive particles and waves radiate from everything around us. How can this tiny hole in our eye reveal so much if only a tiny fragment of this radiated energy stimulates our perceptive nerves?

There is so much visual information and each individual has their own perspective. My sculptures are an attempt to discern this diversity of views. I am searching for a way to articulate through experience and immediacy that moment which gave rise to the origins of the inquisitive and conscious woman, child and man.

The lens metaphor has and still is the main prerogative to explore this notion of immediacy and individual perspectives of whom we are and our affinity to the world around us.

My sculptural exploits are reaching back to the dawn of man and how this narrative still affects us today, our human nature… with a glassy twist. 

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Look around you. Grids are everywhere. Even in nature grids appear. The structural lines of the veins on your hand, the folds and lines on your palm, they are everywhere like intersecting pathways.

A grid gives structure to space. Consisting of lines it separates planes into blocks. Lines are fundamental to the existence of a grid, but they must cross another. Some lines are longer others broader but it is this crossing of the lines that constitutes a grid.

Some grids are structured, mathematically and perpendicular. Take a map of the city or place you live in, look at these forever connecting lines which make up the roads, streets and borders of your environment.

Others seem random and organic such as the neurones and synapses in our brains or the ebb and flow in a mangrove swamp.

Ultimately these lines, wherever they find themselves, are connected.

An ongoing theme in my work has been the large optical crystal Grid Sculptures. A grid pattern is cut into the base of these large and heavy blocks, adding a rigid, formal, almost quantifiable structure into the narrative. 
Thereafter the flat sided cube is carved up, often with impulsively determined facets or, quite recently, with an underlying geometric structure. I allow these variants to manifest themselves.

The grid already determines rigidity and mathematical quantifiable value. These straight lines conform to an imposed intervention, something that is not quite from nature.

Then the carving starts. First with lines drawn onto the cube then with a saw to remove larger chunks. A rough diamond cup-disk is used thereafter to shape and hew the sculpture into desired curves and facets. It is with my hands, eyes and tools that the sculpture takes shape.

During the process which takes several days of meticulous and repetitive labour, scouring the surface with ever finer gritts, the interior emerges.

It is this magic of the hard transparent material I am after. The initial matt and rough cuts don’t tell me much of what light will do but it is towards the end of the process when, after an almost meditative sojourn the spirit of my endeavour emerges.

I am attempting to impose an organic distortion on the rigid structural set of rules, this predetermined grid we deal and often conform with. I am trying to find another way of seeing things.

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