I create a mood and feeling of dynamic tension in my work by playfully manipulating the planes and facets of the patterns against each other. The stresses that this creates help me to achieve the maximum impact within the overall design and also to push the boundaries of the material to its limits. When creating a piece, the most exciting moment for me is when my flat designs become dramatically transformed when charted over a structure and then taken to another level by heavily carving into it. The hue of the material body is crucial because I rarely use colour, I also rely on the piece itself to dramatise the tones and textures through the effects of light and shadow.
In my early work, I was exploring the boundaries of my newfound modus operandi, which was infused with Islamic influences drawn from heavily carved architecture. This led me to look to other examples of intricately carved and constructed buildings from all around the world. In addition, I was inspired by the repetitive motifs of patterns derived from the influences of North African surface design.
Delving deeper into these architectural influences and looking closer at structures of past and contemporary building styles, I discovered that I was also greatly intrigued by the internal space and the construction, which were articulated together on the external surface envelope. These relationships have informed my work as I strive to unify not only internal and external forms but also the parts to the whole. In this respect, I am reminded of the Greek principle of the Golden Section, namely that, the smaller is to the larger as the larger is to the whole.
Subsequently, my work was influenced by a new emphasis on the balance between masculine and feminine forms and contours. There appeared to be a distinct pattern of behaviour of the viewers emerging solely based on gender. In general, women gravitated toward the spherical forms with curvilinear contours whereas the squarer form with hard-edge contours tended to elicit more interest from men.
More recently I have become interested in cutting more dramatically into the original form, sometimes to the point where the form begins to distort and becomes no longer recognisable as a geometric volume.