Recently installed and programmed this dramatic elevation of LiTraCon, LED lighting and natural stone has been excitedly anticipated since the first trials were seen. The light transmitting concrete has both an organic and high tech quality. Set within the entrance atrium SEAM is programmed with a series of light shows that will animate the entrance and act as a marker.
 St Peters Church is one of the earliest in England and the first with stained glass windows, which is why it sits adjacent to the National Glass Centre in Sunderland.  Appointed in 2012 I worked with the City’s Landscape team and Enlighten lighting consultants to create a low key, but high quality resetting of the Church in its domain, contextualising the significant amount of archaeology beneath the surface. The scheme required a lot of consultation and approvals which resulted in a protracted delivery process.  photography David Grebby
 Hyperscope emerges from one of the solid granite plinths as a 7.5metre structure with a dramatic changing light ‘pipe’ at its core. It has taken its primary functional source from a child like cardboard periscope device; the Hyperscope. It is the perfect tool to put across my concept of negotiating the transition from below to above ground. I used this simple but effective method to convey the vision of Blyth town centre by associating the subterranean with the past and the surface and verticality of Hyperscope with the future. It also references the fact that a full length J Class submarine, a fleet of which were located in the harbour, would fit precisely within the Market Square,     photography Adam Lawrenson
Pulitzer Hotel Amsterdam
 This giant, fully functioning kaleidoscope comprises of 65 mirror polished stainless steel tubes each initialled by the first years’ intake of pupils at the new school building. Various elements that refer to aspects of the site are housed within the object chamber. These include the relocated crested newts, grazing horses, and quotes from the children’s favourite books. Its’ highly engineered finish is a testament to what can be achieved on a relatively modest budget, and with a willing contractor. 
 This temporary project began an ongoing interest in the visual connotations of passenger aircraft. I like to consider them as mobile public spaces in the sky. Their associations can at times be dark, the vanishing MH370, GW9525 downed by its' pilot. This piece was installed not long after 9/11.     Photography Critical Tortoise
 Earl Grey was famous both for being Prime Minister and importing the tea bearing his name. However, Grey's Monument in Newcastle City Centre had begun to lose the connection and certainly few people knew what he looked like. Given the opportunity create a lighting project for the structure I was struck by an anecdote recounting how the statues head was knocked off by lighting in 1942. It rolled into a shop who promptly put it in the window with as sign saying "Everybody is falling for our prices!"  The idea of representing this became the central element in the proposal.
 Counterweight plays with the crossover between the raising of the theatre curtain and the descent of the miners cage, a switch from light to dark in opposite directions. This kinetic work sees the two cages, one made of coal, one made of light, ascend and descend in the main foyer of the building. The theatre is named ofter the Miners Gala, so this juxtaposition is particularly appropriate in the setting.
 Halation is an example of intense collaborative working in a sensitive site. As the pilot for the Old Town Strategy it was critical that this temporary feature send a clear message of intent; that contemporary artworks can sit happily within the context of a historic monument. The local community was hugely influential in approving the scheme at very short notice. Close working was also necessary with the local Archaeological Officer and English Heritage to ensure the status of the monument was not compromised by the Artwork. I employed Arup Engineering to assist in the project, both structurally and environmentally. Again previously used local fabricators were appointed to build and install the scheme.     photography Jerry Gilbert
 photography Sean Conboy Photogenics
 Precipitate is one of a series of temporary Artworks unusually delivered as part of a Section 106 Agreement with Southampton City Council and Linden Homes. It combines 2nd World War leaflet drops with the luggage labels of the big cruise liners and imported goods. Local school children created their own personal labels including their name and country of origin, and these were assembled as a descending cloud within the old Holyrood Church ruins, itself bombed  during WW2.     photography Rod Varley
 photography Rod Varley
 photography Andrew Heptinstall
 photography  Graeme Peacock  David Williams  Andrew Heptinstall
 Presented as part of English Heritage’s Millennium Sitooteries exhibition in Belsay Hall this kinetic work was situated in the Butler’s Pantry. Mimicking the mechanism of a dumb waiter the piece had two moving screens, one of cutlery, the other crockery. As the screens rose and fell within the floor-less space, passing the windows, light played across the screens, and the sounds of a distant dinner party were heard. It is very much one of a family of Works that includes 1001 Nights and Counterweight.   Independent Review