A life shaped by enquiry — across science, art, and enterprise — now finds its still point in the rhythm of making. Early work with clay ran parallel to professorial years, spent mapping micro-worlds, designing systems, testing the edges of thought. One searched, for pattern, for constants, for silence, for the logic beneath the visible. What once appeared disparate now reveals its coherence through making, by hand, wheel and pigment, towards a language of stillness.

The early grammar of form — informed by the disciplined modernism of ceramicist Hans Coper & architect Carlo Scapa — remains latent here, the spatial poise transposed into the field of perceptual enquiry that defines Intersentient States. Values honed in science – rigour, iteration, respect for constraints – find new life in the studio. Vessels, heads, and paintings — each shaped by pressure, erosion and time — are studies in presence. Mute, archetypal, withholding, they do not explain, they simply are. They are, their own language.

 In a world quick to forget, these works, as both material and metaphor, are gestures of resistance - against noise, against the vanishing, against the eyeless future that assembles elsewhere. They reach towards Berenson’s Itness: a distillation, an unresolved tension, a convergence. Made in solitude, turned by foot, shaped by memory, they are thresholds — a listening — questions made solid.