In the past I had created many functional pieces of sculpture - from benches and tables to doors - which were very often site specific and frequently for gardens.Within garden design, planters are used to punctuate and define space, or where it is not possible to plant directly into the ground, such as on terraces and against foundations. I soon realized that there was a very limited choice in planter design - in cold climates ceramic breaks, lead is heavy, wood rots, terrazzo splits, plastic degrades and dates quickly. So I chose the material I wanted to use and began to work with traditional craftsmen.

We used heavier grades of sheet copper and zinc to hold larger plants and small trees. I was very familiar with antique riveted cauldrons being used as planters and decided this was a good place to start as they can be made to any size and are extremely strong.  I had seen some examples in the kitchens of the Topkapi Palace in Turkey - they were perhaps at least two meters in diameter. I liked the idea of the cauldron and its associations with the kitchen, hearth, sources of myth and magic and so it developed from there.

My upbringing is reflected in my work. I grew up by the sea in Scotland, close to the cliffs and beaches. The sea acts as a huge mirror, reflecting light and the cliffs provide sanctuary for many kinds of wild flower. I have always been interested in everything that relates to the sea and loved the bronze detailing and the rivets on ships - my father and grandfather both worked in shipyards as engineers so I think it’s in my blood.

I work with coppersmiths in a traditional workshop using techniques that date back to ancient times.  The patination methods used are handed down through coppersmith families. The patinas are applied by brush so vary from person to person, along with the chemicals being used. Our workshop is on the coast so air humidity fluctuates - this causes a problem when trying to achieve a blue color as it often comes out greener, fortunately we are not asked for this color very often.

CoutureLab commissioned me to create smaller versions of my large urchin planter. The process is lengthy - the copper sheet is heated with torches and then beaten into shape, the spikes are attached and the form is then plated with tin, which is a traditional coating used inside copper cookware. I think the planters look great with spiky foliage – I have an aloe plant in mine.”