Silent sounds are created through the consideration of what is invisible, the breeze that runs through the glass, the unheard that develops from the contradictions that the harsh rusty fan and the soft biomorphic form of cast jars leave with-in the viewer. The hard material of the glasses and the fan, the soft, bulgy form in space and the impact of the form, and therefore incorporates those traditions that English sculptors like Henry Moore, Anthony Caro and Tony Cragg engage with in his homeland.

When he talks with calmness and repose concerning the topic of time, about the freedom he takes to let a form develop and the 120 kilogram sculpture itself, after month of intensive engagement with the materials until a new object is formed, one senses the knowledge that the Leeds and Staffordshire trained sculptor has about the fundamental principles of sculptural concepts.