For several years I have been documenting the process of developing my sculptural work. It started as a way of making my practice ‘portable’ because studio time is inevitably fragmented by family responsibilities, the day job or, more recently, the current pandemic. I can always return to my work, inspect and reflect on it by looking at sequences of images in the growing archive of my camera phone.

This archive has also been instrumental in sometimes unwittingly recording, and later helping me identify relevant elements of my practice that are lost in static objects. Often it is a relationship between the hand and the outcome, a recording of scale, or the significance of gestures and actions. These elements are then reimagined, reinterpreted and incorporated into the way in which a specific work is displayed. And then in some cases, the work may just simply be a photograph.