My first major project was making a concrete and stone scale model of the farm I grew up on. I scoured the farm for materials I could use to make everything from the milking parlour to the hay barn.

The farm lay along some of the most beautiful coast in North Cornwall. As a boy in farmers’ black wellies, I used to gaze out to sea and wonder what it would be like to be on a yacht looking back at the land that I knew so well. Although I spent much of my spare time surfing and playing in the sea, I never thought I would be part of the yellow welly sailing brigade.

Little did I know that when I was 18 my parents would sell the farm and swap farming for sailing. I soon became immersed in this new world and became fascinated and inspired by the contrasts and similarities between seascapes and landscape.

I soon began to recognise that that the movements, rhythms and forces of the sea and land echo each other: the sound of a silent steam plough turning the earth is almost identical to that of a yacht cutting through the water. I like to think there is a tension in my work that might describe some of these forces.

In the early nineties I studied sculpture at what was then Bristol Polytechnic. It was there that I started to experiment with the large-scale concrete casting of free forms based on the movements of crafts and creatures on the sea. 

It was my degree show sculpture, Calm to Storm, and most notably people’s reaction to it, that made me want to play with the relationship between sculpture and furniture.  Which is what I have been doing ever since.

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