In Kosovo, I found myself witness to a heady atmosphere created by the threat of criminality and disorder following in the wake of the Serb retreat. I was particularly affected by the peace keeping work of the troops, much of which took place at night and early morning.

These gloomy, indistinct and dramatically spot-lit occasions were very expressive of the uncertainty, ambiguity and menace that generated from below the surface, the scenes of day-light breakdown. This breakdown comprised scenes of destruction, rubble packs of threatening wild dogs, smoky black night clubs with armed gangsters, the poverty of the mountain people and the poverty of innocent families caught in the chaos.

There is so much to unravel and my sculpture is taking time to come to terms with it all. However, both tours have shown me how the affects of war persist well beyond the fighting of clearly defined enemies and that it is an ongoing process.

My sculpture deals with this and how war remains a legacy which the victim's personalities have grown around by virtue of the tremendous spirit and vitality with which people are imbued. This is what is important in my work.