The sculptures and installations created embrace the industrial aesthetic, bringing to the forefront structures and materials which we normally ignore as "just being there". These 'non-art' structures in the form of functional constructions never envisaged as art, are taken as starting points from which new and idiosyncratic sculptural compositions are developed.

These 'non-art' entities could be factories, buildings, or machinery systems. The sculptures or installations derived from these forms or systems may or may not infer a process or function and therefore may well be inexact replications. There is no imperative to create a 'useful' entity from the artistic process, yet to remain true to the original forms, industrial materials are generally used.

With three dimensional work it as important to be aware of how people interact with the piece. With some of the recent work shown on this website, the sculpture is of a size that causes the observer to walk around or through it, thus making the viewer physically aware of what he or she sees and so allowing conscious deductions based on the works spatial form.

In recent work, conceptual applications of classic monumental forms have been employed to encourage political observation as well as the use of text. This is not meant to put forward a specific point of view but to encourage the viewer to examine some of the issues within the society in which we live, as maybe a news programme would.

The monument itself has always been a political tool. Works created since 2012 are part doctoral research as to how contemporary artists can address the monument in the 21st Century; and the emergence of monuments of dissent that I term the neo-monument.