This commission was a departure from my norm. The customer had a conservatory (left) in which the paintwork was rotten from the condensation coming from their swimming pool (below). I offered to paint it looking like a continuation of their garden while they were on holiday using condensation-proof paint and they accepted. They were so pleased with the final effect that they asked me to paint their swimming pool in the same way.
In the centre of the room is a glass lampshade, made to look like the leaves of the cherry tree, and in the far corner drooping from the painted brickwork is a halogen lamp, built from wires and silk leaves to look like a flower. I utilised this lighting technique to a greater extent to light the swimming pool. Real trees were used to bring the lighting out from the walls and the beams were used to hide the transformers.
These panels were designed with rivers, mountains, prayer flags, and Thai shutterring in mind. Through the opaque, irridescent glass, they provide a restful ambient light throughout the restaurant and are much admired.
Everything in this restaurant was designed and built by myself.
This included the hand-forged chairs and tables, 25mm-thick panels in the bar, 50mm blocks holding up the staged floor, chandelier, lamps, clock and, of course, windows, all matched together to resemble a continuous sheet of glass.
This shopfront consists of 8 tonnes of galvanised steel, welded and bolted onto the front of the 1950s building. Resin blocks flanked by side-emitting fibre optic cables were inserted into the uprights. Inside the resin, I encased glass fritt, which are small shattered pieces of glass, almost in powder form. It is this fritt that catches and transmits the light emmitted from the cables.
I also encased charms from bracelets designed by Patrick Cox and Vivienne Westwood (fashion designers).
At night, the towering columns light up, and can be set to emit a particular hue: red, blue, green, white or purple or to cycle through these colours.
This clock is a 4ft-square, 10mm-thick solid copper clock which was beaten with a ball point hammer to create the textured face. The numbers and hands with the the name of the restaurant on are detailed using cold-forged copper.
The quarter-hour markers are sunk through the copper face and lit from behind. They were made by ladelling hot glass into a wooden mould. The moisture and burning of the wood created the crocodile-skin effect on the cooling glass.
This is the service counter in a designer clothes shop. It is made from 1-inch thick clear pespex and is 3m long on each side. Every edge is flame-polished to make it clear enough for the clothes to be visible.
The perspex to build this weighs around a ton and cost £4,500. Each piece was accurately machined and glued together on site. A piece of toughened glass lies on top to prevent scratching.
This trophy was commissioned by a Lady who had tragically lost her son. It has been given to his old school to be presented annually to the winner of the parent and pupil tennis tournament. It is made from a pitch pine antique pew end.