PRESENCE & ABSENCE | PETER BURKE

PETER BURKE

PRESENCE & ABSENCE

FOREWORD

I have always been a firm believer that great art creates a conversation. Not only with the viewer but how it interacts with the other art around it. Installing a Peter Burke next to a Picasso, Hirst or Banksy allows these conversations to flow and to flourish between them, as well as between us. So, I make sure whenever I can to install a number of Peter’s works in the gallery; and the closer to my desk the better.

Within the body of his sculptures, there is a raw honesty and beauty which makes them fascinating and unpretentious, and for good reason, great art is not pretentious. It is affirming, it is nourishing, and it reflects something so wonderfully human. Unsurprisingly then, it is a joy to witness how the onlooker is drawn into Peter’s sculpture, and for the time they stand before it, become part of it. Collectors are enthralled and intrigued by these thoughtful sculptures and welcome them into their space, indoors or outdoors. Urban planners widen this intrigue in cityscapes from London to Seoul offering them to the passer-by in public spaces.

For me, Peter’s works fall into two categories: the wonder of the human form and then there is the reflective work, taking us inwardly into a curious and introspective place of questioning our two worlds, the internal within ourselves and that which is around us. The scaffolded towers, or wall-mounted panels for instance beg social questions of isolation, community and communication. Both capturing the workings of a craftsman and a maker who has dedicated his entire life to British sculpture.

It is an honour and a joy to work with you Peter.

Acoris Andipa January 2023

We met nearly 60 years ago as students in Bristol when Peter was an Apprentice at Rolls Royce and I was studying in a Teacher Training College Art Department. Although an engineer, his attic flat was full of Art books, painting paraphernalia and the odour of oil paints. I have watched the themes he explored in those early days develop, submerge, reemerge over the years as he has engaged with varying materials, disciplines and forms. I have enjoyed sharing that process and never cease to marvel at his drive, creativity, practical skills and enterprise.

His engineering skills have stood him in good stead but it is his curiosity, inventiveness and creativity which has driven him to explore and invent new processes (from using molehill soil to reclaimed copper water tanks) through which he continues to reflect on and examine the human condition. Although the necessity to earn a living through teaching ate up much of his time and energy up to the age of 50, it also freed him to experiment with ideas and materials without regarding his sculpture as a commercial commodity.

The human form is always there, even if it is presented as an absence, or in the implication of human activity in his abandoned chairs or ladders - the remnants of human activity.

Despite being a committed maker, sculptor and teacher, he has always put his family first, often working late at night after the family were settled, to complete framing and packing cases in his cold “workshop” - never “studio”, his engineering roots never forgotten.

A modest man, bursting with energy and irrepressible ideas which often makes life exhausting though exhilarating, leading us to exciting experiences from collecting and processing local molehills for “Earthworks”, to working in an aerospace factory, a scrapyard (where I was offered a job!) and working alongside the Mexicans in California. A welcome change for us both after 25 years each in the classroom

I have been his model, photographer, riveter, pneumatic chisel operator, packing case maker ....all great fun. I only seem to whistle whilst working in the workshop....

Wendy Burke January 2023

A MESSAGE FROM PETER

These works started with a series of experiments to attempt to give form to the physical space we occupy, to make an equivalent to the human presence and our place in the void.

Space has as much significance as form, both in life and art. We as humans are defined as much by space as our bodily presence.

Certain elements from one’s experience inevitably surface in the making. From the age of 13 my education was purely technical, Engineering Secondary School followed by a five year Student Apprenticeship at Rolls Royce. I finally attended Art College when I reached the age of 27, it was a euphoric time for me.

In sculpture that contains the human image there is an area of tension between the image and the physicality of material and manner of construction. Although it is assumed that sculpture is consciously made, there are often subconscious influences and the reasons for some of the decisions made can surface at a much later date. I work intuitively in this rich area of associations and the objects made seem almost outside of myself and I regard them with curiosity.

ACKNOWLEDGEMENTS

I would like to thank Acoris for his support, encouragement and generosity over the last 13 years and to him and his great team for enabling this show.

Many thanks to Film Director Mitchell and his Gaffer Mark for their excellently crafted film.

As ever I am indebted to Wendy, the Packing Case Queen, without whose physical and emotional support these ideas would never have come to fruition.

Peter Burke January 2023

BIOGRAPHY

Born in London, Peter Burke trained with Rolls Royce in Bristol after leaving school. He then attended Art College and subsequently became a Foundation Course lecturer in 3D Art and Design. He maintained his practice as an artist throughout and, since 1994, has given his time fully to his work as a sculptor.

In the mid 1980’s, after a long period of involvement in non-figurative sculpture, Burke wanted to make contact with the western figurative tradition using means that reflected his environment and experience. His engineering background has informed his working practice, which is evident in his employment of industrial processes and materials. In many of his works he seeks to explore our relationship with the inescapable facts of mass-production and standardisation being ever-present in our culture, bearing in mind that reproductive technology has been at the centre of sculptural practice since the founding civilisations of western culture. Central to his work is the idea of a human presence. It explores man’s predisposition to recognise and read the human form with an intensity that accords to no other visual activity.

On leaving his teaching post in 1994, he became an Artist in Residence at a scrap metal reclamation yard funded by Southern Arts. In 1995, Burke was awarded the prestigious Pollock-Krasner Award and, in 2005, he was awarded the Diane Middlebrook Fellowship at the Djerassi Artists Program, California.

Peter Burke has exhibited since 1973 in mixed and solo shows including at New Art Centre, CASS Sculpture Foundation, Peggy Guggenheim Collection, Art Basel and has featured regularly in British and overseas galleries. His work is in private collections in Britain, Europe, USA and the Far East and has been acquired by numerous corporate collections and societies.

He currently lives and works out of his studio in Bradford on Avon, Wiltshire, England.

“THERE IS A SORT OF DYNAMISM TO THE WASTE PROCESS. WHAT WE THROW AWAY IS PARTICULARLY INTERESTING. THE CONDUCT OF SOCIETY IS LAID BARE IN THE SCRAP YARD.”

INTRODUCTION

The distinct and compelling sculptures of Peter Burke showcase an artist who embraces the void. Defined as “a completely empty space,” a void simultaneously and paradoxically exists within its own absence. In his new solo show “Presence and Absence”, a celebration of his life and over 60 years dedication to his craft, the esteemed British sculptor places the human form within industrial methods of creation as showcased by over 40 works.

Throughout human history sculpture has been a vehicle for human beings to document, not only their place in the world, but their own experiences and Peter Burke firmly falls into this lineage that can be traced back almost 500,000 years. Crudely carved from quartzite pebble into a human figure, the Tan-Tan sculpture of Morocco, a proto-sculpture of sorts, much like Burke, is expression in its purest form. Refined and reworked, Peter Burke reinterprets the narrative around sculpture through his choice of shape, colour, texture and material to craft his vibrant, powerful and endearing works for our times.

There is an certain intuitiveness in the sculptures that, in the words of the artist, can be traced back to childhood and an intrinsic sense to create, “The first sculpture I made was using a piece of bath stone I found in my father’s cellar and a whole load of old woodworking tools and I used it as something to carve. I think I was about 11 or so, maybe even 10 or 9.”

Fascinated with the precision of mechanical processes, industrial casting and mass production, Burke opts not for the abstract but for the deeply human - making his sculptures highly suited for a place in our homes. It is this juxtaposition between such heavy industrial processes with the tender nature of the human form that makes his artworks so impactful. Both an ode to our ingenuity and our own intelligence, there is a celebration of the human spirit that captures, conquers and tames the powerful furnaces from which many of the works are cast.

A background as an engineer for Rolls Royce is apparent through Burke’s masterful execution and technical brilliance in the design and production of his sculptures. Yet the industrially produced works that are so deeply and meticulously crafted, highlight an engineer’s mind with the vision and nuance of a true artist.

There is a dynamic sense of juxtaposition in the works where the cold, hard materials, rigid to the touch, are transformed into the emotional. Deeply contemplative, the meanings that lie within his sculptures make them feel instantly recognisable as if they have been around forever. Indeed, the foreverness found in the pieces come from the choice of industrial and reclaimed materials that are, again, repurposed and take on a new life in his sculptures. Recycling and reusing are key concepts to Burke who has been known to pore through old scrap yards as much in search of inspiration as for the once discarded ruins to reclaim.

In our modern world full of Artificial Intelligence, algorithms and instant communication Peter Burke brings a refreshing and deeply human touch to the artificial. Endless symmetry and sequence can be found within the metal works where the void is created and explored not through religion or doctrine but through art itself lending a sense of the real to the conceptual.

Through Burke’s life-affirming works, equally at ease collected and exhibited at preeminent institutions including the Peggy Guggenheim Collection, Venice, as they are in our homes, work places and external spaces, one can savour an artist who, after more than 60 years, continues to strive for authenticity through beautiful and meaningful sculptures. Much like the Olympic flame that is said to eternally burn, Burke works give us a glimpse of the eternal and our desire to harness and live within and reclaim the void.

Alex Yellop – Head of Digital, Andipa

“I SEE A MOULD AS A VOID, AN ABSENCE AND MY FIRST USE OF THEM IS TO ANIMATE THAT SPACE, THAT VOLUME WITH MATERIALS. LATER THE EMPTY SPACE BECOMES MORE OF PRIMARY SIGNIFICANCE”

- PETER BURKE

LATTICE WORK ONE

2018

Steel (oxidised)

107 x 75 x 20 cm.

Unique

£ 16,500 GBP +VAT

www.andipa.com

2018

Steel (oxidised)

90 x 64 x 20 cm.

Unique

£ 16,500 GBP +VAT

LATTICE WORK THREE (OBLIQUE)

LATTICE WORK TWO

2018

Steel (oxidised)

115 x 55 x 29 cm.

Unique

£ 18,500 GBP +VAT

WORK FIVE

LATTICE WORK SIX

2018

Steel (oxidised)

106 x 70 x 35 cm.

Unique

£ 16,500 GBP +VAT

www.andipa.com

LATTICE WORK FOUR

2018 Steel (oxidised)

97 x 73 x 17 cm.

Unique

£ 15,700 GBP +VAT

www.andipa.com

TRACES IN PETER BURKE’S STUDIO

This is a collection of experimental works to enclose a human shaped space.

COLUMN TWO

2018

Lacquered steel

200 x 20 cm.

Unique

£ 6,800 GBP +VAT

ENCOUNTER

2010 Steel

117 x 20 x 20 cm.

Edition of 2

£ 10,800 GBP +VAT SQUARE TWO

2015

Steel (oxidised) figures and fabricated steel base

155 x 47 x 47 cm.

Unique

£ 10,200 GBP + VAT

www.andipa.com

SEEN

2015

Pewter figures & oiled valchromat

166 x 24 x 23 cm.

Unique

£ 7,800 GBP +VAT

www.andipa.com

MOMENT TWO

2013

Pewter, Steel, Plywood and MDF

11 x 54 x 19 cm.

Unique

£ 8,300 GBP +VAT

MOMENT THREE

2013

Pewter, Steel, Plywood and MDF

11 x 84 x 19 cm.

Unique

£ 8,300 GBP +VAT

YIELD (PROJECT TWO)

2015

48 figures, Stainless Steel Height 100 cm.

Other dimensions variable

Unique

£ 14,000 GBP +VAT

CLOUD

Cast Steel

42 x 114 x 5 cm.

Edition of 5

£ 6,700 GBP +VAT

www.andipa.com

“THERE IS A STRANGE DICHOTOMY IN THAT THE MORE BRUTALLY YOU TREAT METAL THE MORE ANIMATED IT BECOMES.”

OUTLOOK

2010 Steel

65 x 85 x 5 cm.

Edition of 3

£ 6,500 GBP +VAT www.andipa.com

POINT OF VIEW

39 x 19 x 13 cm.

£ 5,500 GBP +VAT

2013 Cast steel figures on fabricated steel base

Edition of 2

TRACE TWO

2018

Steel (Oxidised) and steel frame

70 x 100 x 13 cm.

Unique

£ 8,500 GBP +VAT

MOMENT FOUR

2015

Steel (oxidised)

95 x 153 x 10 cm.

Unique

£ 12,000 GBP +VAT

BROAD FRONT

2022

Four panels, Steel

Each panel 126 x 63 x 8.5 cm.

Total dimension: 126 x 252 x 8.5 cm.

Unique

£ 18,000 GBP +VAT

FOLLY FOUR

2022

Mixed Steel

224 x 55 x 3 cm.

Unique

£ 10,000 GBP +VAT

OF

THE HILLS

2010

Steel framework with chalk head within acrylic vitrine

75 x 37 x 34 cm.

Unique

£ 6,500 GBP +VAT

MESA (WHITE)

2015

Lacquered steel & resin coated valchromat

37 x 91 x 91 cm.

Unique

£ 5,800 GBP +VAT

www.andipa.com

“I AM MOVING TOWARDS WORKING WITH THE IMPLICATIONS OF HUMAN PRESENCE WITHOUT ANY REFERENCE DIRECTLY TO THE FIGURE”

EVERY CLOUD

2013

Sixty-One Stainless Steel Heads

39 x 120 x 5 cm.

Edition of 2

£ 7,500 GBP +VAT www.andipa.com

Two panels, Pewter and oiled Valchromat

Each panel: 100 x 50 x 7 cm.

FRAGEMENT (DRAWING)

2022

Steel

152 x 95

Unique

SHADOW SIX

Lacquered steel

27 x 48 x 9 cm.

Unique

£ 5,800 GBP +VAT

EVENT

2010

Cast Steel and Galvanised Steel 90 x 90 x 12 cm.

Unique

£ 6,500 GBP +VAT

134 x 20 x 10 cm. Unique

£ 10,000 GBP + VAT

“I ALWAYS THINK ABOUT MAKING. BASICALLY, I AM A MAKER. IT’S SOMETHING THAT KEEPS ME SANE.”

FOLLY THREE

2021

Reclaimed Steel

160 x 40 x 6 cm.

Unique

£ 10,000 GBP +VAT

FOLLY ONE

2021

Reclaimed Steel

130 x 36 x 6 cm.

Unique

£ 10,000 GBP +VAT www.andipa.com

02 OUTDOOR

HOST

Commissioned by the Cass Foundation, Chichester. 40 life sizes figures made from reclaimed copper water tanks and corten steel.

2 editions made 1998 and installed in USA and UK.

For some time I wanted to explore the inclusion of an element of chance within a mass production process. When I was training as an engineer I spent some time in a press workshop and saw a rubber press in action. It occurred to me that this process could accommodate a material of erratic thickness. I managed to get access to a rubber press at Dowty aerospace and got the management to agree to a series of trials.They had in their store a press tool for part of their aircraft which approximated to a human torso, and we thought we could use that for experiments. As I was working at the metal reclamation yard at the time, I gathered a whole selection of materials including a crushed copper water tank. The copper could withstand the pressing and also became hardened in the process. I then modelled in clay a life size figure from which I then cast a foundry pattern for front and back. From this pattern, a metal press tool was cast of the front and back of a figure which could be used in the rubber press. Alongside of this we harvested 240 reclaimed copper water tanks which we gutted, crushed, flattened and annealed ready for pressing. We then spent a slightly mad, exhilarating month with Dave, the press operator, who enjoyed the anarchic process, while the rest of the workshop was producing immaculate crease free parts for the aerospace industry. The resulting pressings were taken to a cowshed and riveted together on to a corten steel frame. The result was a bit like throwing a spanner in the works.

LARGE VESSEL

Stainless steel - 4.5 metres tall - commissioned by Cass Foundation and sold to clients in California, USA . 2007

As a result of experiments to enclose a space by fabrication, I settled on the simplest construction method of stacking, informed by seeing a temporary ranch fence in California. The final work was fabricated in stainless steel, around a sacrificial plaster core which was later removed.

REGISTER

2000 cast iron hands and Corten steel frame. 20 metres long x 1 metre wide x 35cm high. Commissioned by Cass Foundation and now in Berardo Collection Portugal.

The starting point for this piece was a photograph of a protest against the activities of ETTA. which filled The Placa del Sol, Madrid, with raised hands together with photographic images of protests seen from above. The title can be used as a noun or a verb. Since purchasing , the Berardo collection has since appropriately installed it in the Assemblea Nacional, Lisbon in “The Passage of The Lost Steps” adjoining the debating chamber. It was later moved to the site of a Roman port on the Algarve coast.

DRIFT

Commissioned by The New Art Centre, Salisbury. 40 cast iron figures mounted on corten steel uprights. 30 cm high figures. Total height 1.80cm - circa 1980. Installed on a Thames side roof top London.

It was intended to provide a human landscape at eye level. The process of making tried to include an element of chance. The cast iron figures were made by the sand moulding process for which I made casting patterns and an “ Oddside “ for production casting. The flash (the surpless metal that escapes at the join of the mould ) that naturally occurs and is normally fettled (ground) away, has been retained.

YIELD PROJECT - 400 PARTS

400 parts stainless steel installed in UK 2005 1.1metres high.

The starting point for this was a field of corn behind my house which was bisected by a footpath. The figures are arranged such that their gaze is always pointing inwards towards the “path”. I felt there was a connection between the “Yield” from industry and that of agriculture.

JANUS HEAD

Commissioned by Cass Foundation. Cast iron. 3.5 metres tall. Cast at shipyard foundry at Tyneside in 1999. 2 editions - USA and UK

For some time I had been making cast iron head moulds and I eventually became more interested in the moulds themselves for their negative space and the illusion of a positive form. This large scale version we cast in a ship yard foundry in South Shields, Tyneside, subsequent castings at Huddersfield. Two editions in all.

03 PROJECTS

ASSEMBLY AT WOOLWICH ARSENAL FERRY TERMINAL, LONDON

16 Cast iron figure /moulds. 188 cm high. Commissioned by Greater London Council 2005, referencing the workforce of 60,000 people who worked at The Arsenal during World War 2

DYSON COURTYARD

Commissioned by James Dyson for his factory at Malmesbury. 20 Male and 20 female life sized figures. Reclaimed copper water tanks and corten steel frames. Fabricated at Dowty Aerospace in 2000

This work was an attempt to activate the space between the reception area and the long courtyard, by populating it with figures to make it a more human friendly space with seating for Dyson’s staff to spend their lunch hours. The figures are arranged in conversational groups both male and female.

I was interested in diverting the dynamics of the waste/recycling process and was curious about the outcome of a manufacturing process that accommodates an element of chance by using an erratic material, in this case domestic water tanks. I made a set of hollow press tools from modelled clay figures, one male, one female, which allowed the metal to be pressed into moulds. The figures have been arranged sculpturally and to promote possible narrative interpretations. It was intended that the sculpture, staff and visitors can co exist in a social space.

THE GARDEN OF EPICURUS - VERSION 2

Reclaimed copper, water tanks and reclaimed steel scaffolding. Made during residency in Scrapyard in 1984. Now in USA

During my scrap yard residency I recalled a visit to the Capitoline Museum, Rome, where there was a shelf full of busts of Roman and Greek philosophers, it made me think that the basis of Western thought is contained within these heads. So the name for the piece came from the Philosopher Epicurus and where his followers met.

HEAD SPACE

At Massan Korea. Stainless Steel. Utilising digital technology and laser cutting. Commissioned by Massan and Changwon City Sculpture Park, Korea. 2010

DJERASSI - USA RESIDENCY

Whilst on a residency in the Santa Cruze mountains in California, situated in 500 acres of pasture and redwood lined valleys, I felt that to make a permanent structure would be an affront to the beauty of the landscape. So, I decided to make an impermanent work from adobe, as used by the indigenous people for housing.

I moulded the feet of the groundman and cast 40 feet in adobe, using local clay and grasses. Bearing in mind the quotation of the Greek philosopher Heraclitus “you cannot step in the same river twice`” I arranged the feet on an old logging trail which went through a creek and left them to be consumed by natural processes.

The temporary installation trial of the feet passing through the studio to the outside, was placed as if on an ancient trail before the built environment.

04 PREPARATORY

MOMENT DRAWING ONE 2015

Carbon on Paper 40 x 68 cm. Unique £ 1,750 GBP +VAT

TRACE TWO (DRAWING)

2018

Carbon on paper 100 x 70 cm.

Unique

£ 2,500 GBP +VAT

MOMENT DRAWING TWO

2015

Carbon on Paper 40 x 68 cm.

Unique

£ 1,750 GBP +VAT

TRACE

2018

Carbon on paper

60 x 69 x 3 cm.

Unique

£ 1,750 GBP +VAT

SQUARE THREE (CARBON)

2015

Carbon on Paper

83.5 x 83.5 cm.

Unique

£ 1,150 GBP +VAT www.andipa.com

VESSEL (MAQUETTE)

Brass

Approx. 34 x 7 x 6 cm.

Unique

£2,200 GBP +VAT

VESSEL (MAQUETTE)

Brass

Approx. 22 x 7 x 6 cm.

Unique

£2,200 GBP +VAT

05 RECENT SALES

A COLUMN FOR OUR TIME - NUMBER ONE

2022 Steel

200 x 25 x 25 cm.

Unique

SCREEN

2013

Rusted Steel

110 x 70 cm.

Unique

TRACE THREE (DRAWING)

2013 Steel.

125 x 69 cm. Unique

FRONT

2013 Steel

110 x 148 x 5 cm. Unique

SHADOW ONE

2015

Lacquered steel 30 x 50 x 9 cm.

Unique

SHADOW TWO

2015

Lacquered steel 38 x 60 x 9 cm.

Unique

SHADOW THREE

2015

Lacquered steel 36 x 60 x 9 cm.

Unique

SHADOW FOUR

2015

Lacquered steel 35 x 36 x 9 cm.

Unique

BROKEN LINE TWO

2015

Carbon on Paper 53 x 83 cm.

Unique

SECOND WALL

2015 Steel 215 x 125 x 11 cm.

Unique

WALL

2015 Steel

79 x 130 x 10 cm.

Unique

SECOND FRONT

2015 Steel

122.9 x 246.9 cm.

Unique

THIRD FRONT

2015

Lacquered steel figures & galvanized steel 100 x 200 cm.

Unique

SECOND ENCOUNTER

2009 Steel

18 x 80 x 15 cm.

Edition of 5

WORKS FOR TRANSIT

2005

Cast Bronze

24 x 17 x 10 cm.

Unique

OBSERVATION ONE

2013

Pewter, steel and MDF

80.0 x 80.0 x 2.5 cm.

Unique

REGARD

2013 Steel

17 x 25 x 9 cm. and 11.5 x 16 x 6 cm.

Edition of 10

UP THERE

2005

Cast aluminum and steel

11 x 14.5 x 8 cm.

Unique

SEE AND BE SEEN

2013

Pewter, steel and MDF 168 x 46 x 31 cm.

Unique

OBSERVATION 2

2013

Pewter, steel and MDF 80 x 80 x 7.5 cm.

Unique

CIRCUMSTANCE

2013 Steel 37 x 155 x 3 cm.

Unique

OBSERVATION 3

2013

Pewter, steel and MDF 80 x 80 x 7.5 cm.

Unique

A TEMPORARY STATE OF BEING

2002 Steel

Height 180 cm.

Unique

05 EXHIBITIONS & COLLECTIONS

SELECTION OF SOLO & GROUP EXHIBITIONS

2022 Britain is Best, Andipa/London Design Festival, London

Royal West of England Academy (RWA), Bristol

2018/19 Works on Paper, Victoria Art Gallery, Bath - Arts Council touring exhibition

2018 Andipa, London

2018 Messums, Wiltshire

2017 Andipa, London

2016 Andipa, London

2016 Southwark Cathedral, Lent installation, London

2015 Andipa, London

2015 Art International, Istanbul

Lemon Street Gallery, Withiel Sculpture Garden

2013 Andipa, London

2013 Lin-Art, Istanbul

Hilton fine Art, Bath

Pallant House, Chichester

2012 Andipa, London

2011 - 12 Victoria Art Gallery, Bath

2011 Andipa, London

2010 Moonshin International Sculpture Symposium, Masan, Korea

Cass Sculpture Foundation, Chichester

Cerro da Vila Museum, Vilamoura, Portugal

2009 Osborne Samuel Gallery, London

2008 Belgrave Square, London

Cass Sculpture Foundation, Goodwood

2007 Spectrum Gallery, London

Installation ‘Register’ at the Assembleia Republica, Lisbon. (Berardo Collection)

Osborne Samuel Gallery, London

2007 Ale and Porter Arts, Bradford on Avon

2006 - 7 Cartwright Hall, Bradford

2006 Osborne Samuel Gallery, London

Cass Foundation, Goodwood

2005 Spectrum Gallery London

Osborne Samuel Gallery, London

Cass Foundation, London and Goodwood

Installation ‘Assembly’ at Woolwich Arsenal, London

2005 Spectrum Gallery London

2004 Osborne Samuel Gallery, London

Art Chicago

2003 Berkeley Square Gallery, London

Cass Foundation, London

2002 Peggy Guggenheim Collection, Venice

2001 Cass Foundation, Goodwood

2000 Odapark, Venray, Holland

Derby City Museum, Drawings and Models for Sculpture

Art Basel

Installation at Dyson Research, Malmesbury, Wiltshire

Stephen Lacey Gallery, London

1999 The New Art Centre, Roche Court, Salisbury

Cass Foundation, Goodwood

Art Basel

Stadische Kunsthalle

Noorbrabants Museum, Hertogenbosch

Stephen Lacey Gallery, London

1998 The New Art Centre, Roche Court, Salisbury

Art Basel

Cass Foundation, Goodwood

Flowers East, London

Pallant House, Chicheste

1997 The New Art Centre, Roche Court, Salisbury

Art Basel

ACA Gallery, Munich

1996 The New Art Centre, Roche Court, Salisbury

Galerie Marie-Louise Wirth, Switzerland

Art Basel

Engineering Art, North Tyneside ’96

Cass Foundation, Goodwood

1995 The New Art Centre, Roche Court, Salisbury

Galerie Marie-Louise Wirth, Switzerland

Art Basel

1994 Atrium Gallery, Coopers and Lybrand, London

1994 New Art Centre, Roche Court, Salisbury

ARCO Madrid

Art Basel

1993 The Orangery, New Art Centre, Roche Court, Salisbury

1993 New Art Centre, Roche Court, Salisbury

Miami International Art Expo

ARCO Madrid

Art Basel

1992 The New Art Centre, London

Miami International Art Expo

ARCO Madrid

Art Basel

1992 The New Art Centre, London

1991 Cleveland Bridge Gallery, Bath

1990 - 1 Ikon Gallery, Birmingham

1990 Grob Gallery, London

1989 Clay and Fiber Gallery, Taos, New Mexico

Fischer-Reinhardt Gallery, Berlin

1989 - 90 Chicago Contemporary Art Fair

1988 Louise Hallet Gallery, London

1988 Bath Contemporary Art Fair

Louise Hallet Gallery, London

1987 Watermans Art Centre, Brentford

1986 Victoria Gallery, Bath

1984 White Space Open Drawing Exhibition, London

1981 Festival Gallery, Bath

1978 South Hill Park, Bracknell

Festival Gallery, Bath

1974 Rowland Browse and Delbanco, London

1973 Cheltenham Festival Open Air Sculpture Exhibition

SELECTION OF RESIDENCIES & COLLECTIONS

David Roberts Foundation, London

Victoria Art Gallery, Bath

Cass Foundation Archive, Goodwood

Masan and Changwon City Sculpture Park, Korea

Contemporary Art Society, London

Henry Moore Foundation Purchase

Berardo Collection, Lisbon

Diane Wood Middlebrook Fellowship Djerassi Resident Artist Program USA (2005)

Development Funding Southern Arts (1997/8)

Pollock Krasner Award (1995)

Residency in Metal Reclamation Yard, Funded by Southern Arts (1994)