As an artist I see myself using techniques similar to ones used in contemporary music – sampling and remixing old texts, icons and imagery into new visual works that are accessible without being populist, and symbolic without being derivative.While the time-worn textures and iconographic markings on the surfaces of my sculptures may reference established religious traditions and myths, the works in fact walks a line between the sacred and the profane, the meditative and the playful, exploring their inter-changeability. This interchangeability of seemingly opposing energies informs much of my work, and it finds expression at the visual level at well, whererough stoneware textures and dry glazes may contrast with luminous porcelain inserts and shiny celadon glazes.

Intuitively the works respond to the Himalayan landscape, drawing on a certain sense of self experienced when walking through the mountains and encountering something ancient, mystical, magical and timeless. Theworks are intended as markers delineating a personal landscape, in which I explore and question the nature of spiritual change. Is it possible to “evolve” spiritually by following prescribed practices, or does it require a “revolution”, a single transformational moment which changes the gestalt of one’s being?