I was not formally trained in the use of glass, and consequently have an unusual and anarchic way of working with it. Hot glass is a fiercely dominating material, yet has enormous life and sensuality. I work with the molten glass by hand, using high tech heatproof gloves. I twist it, pull it and distort it and the movement in the glass retains the energy that went into making it; one can feel the areas of resistance and the areas of easy flowing, the application of tools and hands, and the thermal shock of being placed in water. I take a beautiful material and change it into something that asserts disorder.

The pieces are somehow too long for themselves, too solid or too revealing. They have exceeded bounds and have been caught on the wrong side, over extended and open. There is a sense of contracting and elongating or swelling, like muscles or organs. My most conscious source of inspiration is contemporary dance.

I feel that the oddness of the work helps us to penetrate a little deeper into ourselves, to survive that relentless pressure of standardisation that flows through contemporary culture, to retain the capacity for the utterly personal recognition of things that no-one else sees in quite the same way.