I am delighted to have been selected to show Partial Eclipse in the exhibition ‘Catch The Sun’, at the Corn Exchange Gallery in Dorchester, managed by Dorchester Arts and running from Tues 24th March to Sat 11th April 2026.

I am delighted to have been chosen to show one of my alabaster stone carvings in the Dorset Visual Arts Open 2025, hosted by the Dorset Museum & Art Gallery and running from 18^th October to 30^th November. Thank you to Claire Dixon, Executive Director of Dorset Museum & Art Gallery, Paul Newman, Director of Dorset Visual Arts and Freeny Yianni, Guest Judge and Curator and Gallerist, Close Ltd for selecting my work.

Green & Stone Summer Exhibition 2025

I am exhibiting new Sculpturescape work at the Fringe Arts Bath.   The curators Mike and Dona Bradley, describe doorways as thresholds to somewhere new.  Doorways are the physical symbol of the transition – of change – between the ‘now’ and the ‘next’, from ‘here’ to ‘there’; moving in, moving out, moving on.  Familiar in ritual, religion, myth and literature, doorways have emotional power.  Doorways occupy the liminal space between two states of being, a transition that has to be negotiated before the ‘next’ can begin.

Talk at the German Residence 19th January 2018

“The lines we leave behind us, the spacious weave, our wake, then sleep.” Robert Macfarlane.

My response to the theme of Human lies in two quite different pieces – the Drawing Machine and the Shroud of a Drove Road.

As a young sculptor and photographer, being asked to create work on this theme, is both a privilege and a challenge. To think about and grasp this concept is in itself, the stuff of epics, poetry, biblical writings, paintings, history and so on.

The force behind this three-month long exhibition was Marliese Ammon, the dynamic other half of the German Ambassador Peter Heimann. For her, there exist few barriers and this exhibition was to create a visible platform for work made across cultural divides where there could be dialogue.

She wanted to make one very important point; too few women artists are shown and too few women artists’ work is sold either by galleries or by auction houses the world over. Her statistics are staggering. She wanted to show work by artists who had been collected and recognised despite the Berlin Wall.  Many of the artists, chosen by the Berlin based curator Ecke Cörlin, had work in the Penz collection in Berlin.