I began making sculpture as a young boy in rural Australia. As our parents filled our house  with exotic objects garnered on their trips abroad, I had plenty of early inuences. I was  fascinated with things like a Cycladic figurine, a Roman dagger, intricate carvings from  China and a 10th Century Shiva. I held them in a revery of emotions. From my outback  vantage point these pieces served my imagination well. I anticipated travelling these lands  one day to get at the source of these feelings.   Growing up on a farm in North West New South Wales in the 60's and 70's my childhood was "wild and free".  Very young and at large on horseback tracking animals and dreaming. These years built a poetic fascination with the erotically charged activities of the living and dying of the plants and animals around me. Even inanimate objects seemed busy communicating lust, fear, pride and futility in the face of the relentless Australian landscape. I felt that the communities of birds, marsupials and insects tolerated my presence as a silent witness.    When I was 19 I spent a year working as a jackaroo on a cattle station in the Northern Territory and with Aboriginal tribes in the great Sandy Desert of  Western Australia. then left Australia for Indonesia and a seven year trek across Asia. As much as the people and places thrilled my senses so did my immersion in the worlds literature. Eventually I was bristling with realizations and felt ready to return to Sydney to begin making Art. On my travels  I had discovered an affinity for shape and a desire to express silence and fury in form.   As a completely self taught artist I started exhibiting my work in 1991 and quickly  established a foothold in the gallery scene of Sydney. In 1996, when awarded an 01 Artist Visa  by the US government, I decided to emigrate to the USA. I found a place where I could  sculpt in lower Manhattan, got a job assisting the Korean artist Nam June Paik in Soho and  began a new life in New York. In 2000 I moved from New York with my wife 70 miles SW to  set up a studio and start a family in Pennsylvania. I apprenticed at an art foundry and learned the art of last wax and sand casting sculpture.    Following several successful exhibitions in Manhattan we bought a property in PA. Here at Spring Run farm I adapted our existing out buildings to house the various elements of my sculpture processes. In the foundry, where we cast in Aluminum and Bronze, it was necessary to create spaces for mold making, wax preparation and ceramic shell investment. A kiln for burn outs was built, the furnace for smelting buried in a concrete well, areas for fabrication, metal chasing and patination where created to facilitate the sculptures in metal.   One fun area is in place to allow drawings to be done on prepared cast sand tablets. Another building, originally designed for corn storage, is now occupied by 2 large gantry cranes that I hang my marble works in progress from. The corn rooms are heavily ventilated and great for carving in as the dust generated is sucked into the fields. We built studios for other artists and our now happy to grow our family of 5 and work from this Art farm in the "Penny woods".