Faithful to his initial inspiration born at the very beginning of his artistic training, James has, until very recently, declined his sculptures from a single starting point, – the container; or to use a more appropriate term because it is closer to the original English, the ship. Thus, he offered us authentic and original spatial explorations where the inner void played a primordial role in the sense of the whole. But, guided by the soft voluptuousness of his spatial language, James Oughtibridge gradually closed the opening inwards to finally embrace completely closed forms. Built of large undulating planes, embracing along fine peaks, his sculptures seem born of a benign fluidity, suddenly frozen in organic form. Flowing and intertwining around delicately outlined hollows, they are sensual invitations of a rare and joyful harmony.