This work begins with what is left behind. Gathering discarded and overlooked materials, forging them into textural forms that speak of endurance and renewal. Making has been my constant—through struggle and change, I continue to solve, to craft, and to give new life to forgotten matter.

This abstract impressionist sculpture of a heron seeks to capture not only the fluid curves and quiet poise of the bird itself, but also the stillness of the billabong edge where water, light, and movement meet. Set on a plinth of Australian eucalyptus hardwood, polished with natural oils, the work balances strength with delicacy—heavy materials shaped into a form that suggests grace and calm.

Carving found Australian hardwoods, most often fallen limbs collected from close to my studio worksop. Each form is shaped by hand, polished to a tactile smoothness, and finished with natural hard wax oils. Inside, burning the bowl’s interior using a Japanese technique that reveals both depth and contrast. These vessels are weighty and grounded, yet they invite touch and interaction. Born from the discarded, they embody endurance, presence, and the quiet beauty of transformation.