In 1970 I started using collage as a method of developing my ideas and then decided to translate some of these images into 3-dimensional, architecturally inspired reliefs. An interest in the work of the British constructionalist movement informed this change in direction.

 

As a means of expression, construction offered exciting possibilities for exploration and development. I began experimenting with wood, metals and plastics. The range of materials available to the artist in a technological society proved very challenging. As my ideas evolved I found I preferred to use perspex, anodised aluminium and wood, sometimes exploiting the transparent varying luminosity of perspex over perspex and at other times combining the qualities of these materials.

 

I based many of my reliefs on the square, the cube and sections thereof, seeking to explore the possibilities of varied relationships and also to extend the variety of visual experience by employing reflective surfaces within these limits.

 

Each relief brings into play a range of forces – light, space and implied movement – which I employed to enrich the essential quality of balance and control. I found these anodised surfaces made it possible to build up a framework of ‘super patterns’ and in some works the reflection is as important as the structure.