Survival is a Major Work defined by precision, restraint and technical resolve. The piece centres on a sculptural 3D bee, whose creation demanded an exacting approach to scale, proportion and surface detail. Every component was conceived as a miniature, requiring intense focus to ensure anatomical accuracy while retaining a sense of life, weight and vulnerability.

The wings proved to be the greatest triumph. Formed from paper-thin translucent clay, they are lightly tinted and finished with the faintest smear of pearl paint, introducing shimmer without obscuring the delicate veining and internal structure. This balance between luminosity and transparency was critical, allowing the wings to read as both fragile and functional—an essential symbol of survival itself.

The honeycomb ground marks another significant departure in process. Constructed using a variety of metallic leaf tones for the first time, the surface shifts subtly in colour and reflectivity, echoing the complexity and order of the natural hive. Against this geometric structure, the bee appears both protected and exposed, its vulnerability heightened by the intricacy of its surroundings.

Survival is considered a Major Work not only for its visual impact, but for the extraordinary technical challenge it represents. It speaks to endurance, interdependence and the fine balance between strength and fragility—where survival depends on detail, precision and the integrity of every small, unseen part.

Marine Magic is a major work for a very simple reason: art should be fun. It doesn’t always need to carry heavy intellectual weight or profound emotional significance — sometimes it can simply be. This piece celebrates joy, wonder, and visual play, inviting the viewer to smile first and think later, if at all.

Created as a glow-in-the-dark adventure, Marine Magic immerses the viewer in a luminous underwater world where vibrant jellyfish drift through deep indigo currents. Neon pigments burst into life under ultraviolet light, transforming the work into a theatrical, almost magical experience. Sensational and arresting, it captivates instantly — a piece that refuses to take itself too seriously while remaining technically assured and visually striking.

Now sold, this work remains significant to me because of the sheer pleasure it brought during its creation. It reaffirmed that delight, charm, and accessibility are powerful artistic values in their own right. Marine Magic resonates equally with adults and children, bridging generations through colour, movement, and playful spectacle.

Its legacy continues: I am currently creating a successor — larger, bolder, and with even more pzazz — building on the spirit of its predecessor while pushing the glow-in-the-dark concept further. Marine Magic stands as a joyful reminder that sometimes the most meaningful art is the art that makes us feel light, curious, and happy.

Coral Reef is a major work in a quieter, more understated sense. It stands as a reminder that complexity, labour, and ornamentation do not automatically equate to success or desirability. Sometimes the most powerful works emerge from restraint. My father once said that simplicity is the essence of fashion, and that principle resonates just as strongly here in art.

This piece took me back to my early practice, when my work was unadorned and instinctive — driven by colour, movement, and the quiet drama of multi-cellular fluid interactions. The surface evokes organic coral structures, tidal growth, and living ecosystems through layered greens, blues, and golds, achieved without sculptural intervention or embellishment. Its strength lies in fluid simplicity, balance, and natural rhythm.

Coral Reef is also major in its intent. It marked a pivotal exploration of translating fine art into wearables and functional objects, extending the artwork beyond the wall and into daily life. Presented as both art and applied design, it challenges traditional boundaries and celebrates the uniqueness of art that can be lived with, worn, and carried — without losing its integrity.

In its quiet confidence, Coral Reef affirms that simplicity can be both deliberate and profound, and that beauty often lies in knowing when to stop.

Sweet Peas is a Major Work shaped by experimentation, patience and an attention to fine detail. Set against a softly fluid-painted ground, the composition explores fragility and growth through a complex interplay of unfamiliar materials and sculptural precision. Working with florist tape and wire was an entirely new experience, enabling the stems and tendrils to twist, curl and climb with an organic lightness that mirrors the natural behaviour of sweet peas in the garden.

Petals, calyxes, buds and leaves are all individually hand-crafted from clay, each form carefully shaped to capture the delicacy of the flower at different stages of bloom. Every element is then individually painted and resined, preserving the fine veining, translucency and subtle variations in colour while lending strength and permanence to these otherwise fragile forms.

The inclusion of a bee introduces both scale and narrative. Small and easily overlooked, it draws the viewer closer, revealing the intricacy of the work and reinforcing themes of pollination, interdependence and fleeting life. Its presence heightens the sense of delicacy and precision throughout the piece, transforming the composition from a botanical study into a quiet meditation on detail, connection and the beauty found in the smallest interactions.

This sculptural still life marks a significant departure in my practice, conceived and realised as an entirely new body of work in which every element is individually formed, finished, and sealed. Each vegetable—tomatoes, carrots, aubergines, courgettes, beans, peppers, squash, and greens—is hand-sculpted, individually painted to build depth and variation, and then separately resined to intensify colour and surface lustre. The woven basket itself is also sculpted and painted by hand, its structure and pattern carefully articulated before being resined to unify and protect the whole. Set against a ground layered with subtle French script and a painted wooden work surface, the composition evokes the warmth and abundance of a traditional farmhouse kitchen. This work is considered a major piece not only for its technical ambition and complexity, but because it represented completely new territory for me—created specifically to command attention and deliver impact within a major public setting, where it was seen by an exceptionally large audience and needed to resonate immediately, physically, and emotionally.

Serene Reflections is a Major Work that brings together a wide and demanding range of techniques to create a richly layered, three-dimensional oriental waterscape. The composition is carefully balanced to evoke stillness and contemplation, while revealing increasing complexity as the viewer moves closer.

The work embraces wash, fluid art, traditional brushwork and sculptural construction. Soft washes establish atmospheric depth and distant landscape forms, while fluid techniques introduce movement and organic variation within the water and terrain. These painterly elements are then overlaid with sculpted components: the sinuous, textured tree trunks rise from the surface, their twisting forms guiding the eye through the composition and anchoring the scene in physical space.

Architectural elements are precisely rendered, with the pagoda structure emerging as a focal point of calm and balance. Layered foliage, resined details and subtle metallic accents add depth, light and surface tension, enhancing the illusion of reflection and tranquillity. Each material and method is deliberately chosen, contributing to a harmonious interplay between control and flow.

Serene Reflections is considered a Major Work for the breadth of skills it brings together and the technical challenge of unifying them into a coherent whole. It represents a synthesis of painterly sensitivity and sculptural ambition, transforming the flat picture plane into an immersive, meditative landscape that rewards prolonged viewing.