Based on the archetype of Mother and Child recurrent in most cultures - Mary and the child Jesus, Isis and Osiris in Egypt - this is an image of protection and symbiosis: they complement each other , as each head is missing one half of their face. Her hair and eyebrow line become the common bond that holds them together.
Her inclined head expresses care, his lying position trust and rest: the concave space behind him represents an enclosed cave and place of safety.
As the horizontal head is rather large in proportion, this sculpture also incorporates tinges of the adult man/woman relationship. The woman nurtures and protects the man as the son he once has been; and for fulfilling his expectation, he worships her, raises her to become a saint, the madonna of Christian history
Written by the art critic Patricia Preece:
"This work shows two faces locked together in the most intimate way, but their gaze is strangely distant. The strength of the work is the tension that exists between the two heads which are bound together. the mother figure angles her cheek to her child in a aresponive manner but faces away with her eyes fixed to the horizon.
At the same time the child nuzzles the mother , but its kiss is a pout that tells us that it knows that the time for nurturing is over. The nurturer and the nurturer are also the rejecter and the rejected -= to encapsulated this using such economy of means is an amazing feat.
It is this that makes the figure truly modern. I love you , says the big heads, but its time you moved on - me and your dad have got things we want to do."
"This is a sculpture about man and woman within one soul. The sun on the right represents the woman, the slither of a moon on the left the man.For this sculpture, I used the mythical language of fairy tales, yet years after its creation I became aware that it embodied the memory of a real life couple. She is all vitality and radiance, he appears more austere and thin, feeding off and mirroring her energy,
The lines flowing upwards from nose, eyebrow and cheek form a repetitive pattern that gives energy, and integrates man and woman into one sculpture
This sculpture is based on a multi-faced Hindu God with the idea of near-unlimited , impartial vision, his three eyes viewing the world from a wide angle. The divisions between the heads are embedded into a shared skin that inflates and deflates not following the laws of anatomy or bone- structure, but this os an alternative physical reality, matching the internal , invisible and fluid movements of feelings, or breath.
I emphasised the contrast between the massive volume of the head against the thin structure of the neck, indicating a lofty idea with tentative connection to the ground - not unlike a balloon.
Having man and woman in one head/sculpture expresses the idea that we carry both identities within us, though physically we are bound more to one gender.
This is the first of five multiple/double heads; with every single one, I tried to find a a different way to convincingly connect the two heads. In this sculpture, the original egg has split in two halves, with the division line carrying from the front to the back of the sculpture: one half is sliding itself ahead of the other.
The woman is on the right, with her head inclined, indicating that she wants to leave. Yet she can’t, or doesn’t, as the sculpture, true to its nature, remains still.
Movement is frozen, caught in a permanent state of flux and ambivalence.
This sculpture is based on the experience of "two souls in one body": being torn between two identities, motivations or urges. The right head head is pealing, pulling, turning away from the more static left head.
Based on an Aztec sculpture, it visualises the idea of a hidden, unformed self opening up behind a social front
Absorbing the geometric and abstracting influences of African wood carvings, I fitted this head into the shape of a triangle, and experimented with the ensuing distortion of facial features: very large eyes set against a small mouth; nose and eyebrows merging into one curved bow.
The small mouth (the only naturalistic element of this sculpture) is a pivotal point of the triangle : with its downward tension, it expresses disappointed expectation and frustrated demand building up to anger and sadness.
This sculpture was three times re-createdin 1998, 2003 and 2015, its expression changing from ruthless ambition to something softer, more rounded, and more realistic. In the course of its reworking, this head moved from masculine to the feminine
Originally, this head was indebted to Cycladic faces - with no features at all buy the nose.I used sleek, elegant lines, especially visible from the profile; to describe speed , ambition and confidence.
This sculpted head, is based on two ideas:
1. the hair, split in two parts, becomes animated ( based on the writing snakes of the myth of the Medusa)
2. he woman's head is "outgrowing" her original encasement (=hair) , similar to a chestnut conker breaking out of its shell.
The upward gaze, and the dis-embodied head feels unworldly: a reminder that my life and its circumstances might be a film conceived and directed by myself, viewed and reflected upon in quiet times.
This sculpture is portraying a friendship between two children, created as part of an artist-in-residence in a dementia ward in a care home.
The moment I describe is of sharing a private moment, entrusting something to one's friend, like a weakness, worry, personal experience. The left head is communicating, the right one listening and supporting .
The setting of the studio with a care home accounts for the more realistic and accessible style I chose. Residents were involved n and observant of its creation, and when the finished sculpture was installed, 25 titles, and different ways of interpreting the work, were offered by the residents.