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Nuremberg, Germany

Since moving to Leitrim 7 years ago my sculpture has changed to echo the landscape and material of my new environment - wooden structures reflecting the rock of the mountains and hills, cutting layers to indicate stratification and burned to symbolize constant change and transformation. I am currently working with wood that is burned and contains references to landscape and constant metamorphosis.

Recently I introduced a human dimension to the work - and elm trunk was dissected with a chainsaw into 2 half cylinders. I carved a concave impression of my body into the flat surface of one side of the wood. The wood was dissected into 4 horizontal sections that were each charred and then reassembled. The backside is textured and gives the impression of landscape. The burned surface with the concave impression created a sense of uncertainty about whether the human form is concave or convex. The overall impression is of arriving or departing through the archway entry point.

I have employed burning in my sculptures for 6 years. I am drawn to the non-reflective quality of the colour - or lack of it. Burning wood is an indication, a transformation and transfiguration of energy that resonates after the fire. Each of the sections of the sculpture are roasted to achieve a charred surface to a depth of around 10-15mm. The burning is an event in itself ensuring that the wood is evenly burnt takes careful handling. I enjoy working in an outdoor rural context, particularly one with an historical aspect.

I recently completed a sculpture for Florencourt House (a neoclassical house built in the 1700's) in County Fermanagh, Northern Ireland . The sculpture was a broken obelisk made from 300 year old oak and elm that had been planted by the original inhabitants. This piece is a monument and commemoration to all those who have suffered as a result of the last 30 years of strife in Northern Ireland.