Chelsea Art Society,
The Mall Galleries, London,
Morley Gallery, London,
The Gallery in Cork Street, London,
SW1 Gallery, London,
Ruskin Gallery, WMC, London,
The Royal Institute of British Architects,
Collyer-Bristow Gallery, London,
Synergy Gallery, Fulham, London,
Royal West of England Academy,
Leonarda di Mauro Gallery, New York,
Chesterton Sculpture Studios,
Century Gallery, Henley-on-Thames,
The Oxford Playhouse Gallery,
The Oxford Art Society
My early childhood years were spent in Belgrade, my place of birth. After completing a Foundation course in Art in the UK I went on to study architecture, culminating in an ARIBA Diploma in 1966. My drawing skills proved to be instrumental to success in that field and I never stopped sketching and creating, even while working as an architect here in the UK, and later as a Partner in an architectural practice in the Middle East.
Returning to the UK in the 80s, I joined a sculpting group led by Kostic, an exceptional Polish sculptor who infected me with his love of clay. I owe a lot to this man’s expertise and soon started developing a personal style which was heavily textured and, in my eyes, suited the nature of the material. Adding lumps of clay in quick succession, and keeping the work ‘loose’, gave my forms a certain vitality.
I then began to explore other materials, such as wood and stone, soon to find that these required an entirely different approach; a slow, painstaking method of reduction to create a recognizable form. The slowly emerging shapes under my own hands created such excitement that for me there was no going back.
I try to capture a certain flow in forms, with the human body as my main reference. Wood certainly lends itself to that flow (stone less so) where the grain often dictates which way the chisel goes: though I am in control of the tools , there is an unpredictability which I find both daunting and exciting.
I have dabbled at welding and made a few metal sculptures, often combining metal
with wood and stone. Welding and metalwork, however, require facilities that are not always available to me, so I have turned to experimenting with wire. To date I have created three wire portraits (see under “figurative – wire”); undoubtedly I will create more when the right faces inspire me.
My work has been exhibited in several galleries and appears in numerous private collections in the UK, Europe, and the Middle East. The work I produce is not commercially led, but driven by a desire to express myself creatively and develop as an artist and observer.