Project Development

This page is designed to give you an insight into the commissioning, research, design and implementation process Adrian follows when developing a project.

Development of new work:

I have a design office & large studio in Manchester, but travel all around the country to develop projects through consultation, research and participation. I will sketch initial ideas in response to the brief, the site and the aspirations of the commissioner. Then begins a process of thorough research and development, often in close liaison with the commissioner and a project team. The aesthetic and structural development of sculpture is best done by modelmaking, and I will often present a series of maquettes to the commissioner to show the progression of ideas and forms.

As well as design presentations and creative workshops, I will often organise pop-up exhibitions near to the site of the work and discuss proposals with members of the public. This is one of the best ways to inform and engage local people and offset any misconceptions or apprehension they may have about a piece of public artwork arriving in their town.

Specialising in the use of steel enables me to create work in a great variety of forms, but where appropriate I also like to incorporate a range of other materials including green oak, stone, stainless steel, copper and bronze.

I greatly enjoy fabricating work myself, but where the nature of the commission requires it, also benefit from using experienced fabrication companies and assistants, structural engineers, profilers, galvanizers, haulage, installation and landscape contractors. All my sculptures are highly durable & require little or no maintenance.

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Community Involvement:

I started my career as a professional artist making interactive kinetic sculptures that the public were encouraged to play with, so it was a natural progression to run participatory workshops showing people how to make artworks themselves, how to develop their ideas and have fun creating things from everyday recycled materials. I undertook North West Arts Board’s very first Artist-in-Schools Residency in 1983 and have since continued to involve as many people as possible in my work. I’ve organised many different types of consultation events nationwide and recently completed my 260th community project.

My view is that anyone creating work for the public realm should involve the local community in its development. It enables a true sense of ownership and pride, creating opportunities for people to actively improve their environment. I also believe that my work is better for involving others. I get to know new places inside out, quickly feel part of the community, see the good and bad aspects of a location and am fascinated by local history. All this gives me a comprehensive insight and overview of a location and I am then able to channel and interpret relevant ingredients to develop innovative work that will be popular and stand the test of time.