THE SCULPTING PROCESS

When I conceive an idea for a sculpture-something that can happen at any time, but most often when I first awaken-I develop a clay model from my mind and sometimes from preliminary sketches; no living model is used. I prefer the ancient medium of natural water-based or pottery clay because I have an intimately awareness of the properties I have known since childhood. I also find it to be a very fluid and organic material, one that connects me to the earth, and one that seems truly alive: after all, many world myths speak of the first human beings as beings made from clay. This fluidity also suits my method of creation: since I work feverishly once I conceive an idea, water-based clay enables me to rapidly form figures, unlike modern oil-based formulations which are firmer and slow to work. From a purely practical perspective, though the colour of the model ultimately doesn't matter, I find red clay shows detailing better to my eye and results in models that simply look darn good. I work on this original clay model (see below) for a number of days or weeks, adding more and more detail entirely from my mind, only employing the use of a human model, live or in images, to check fine points of anatomy.

When I am satisfied that the original is complete, a silicon rubber or polyurethane mold is made of my work. Because of the movement and complex interaction between figures, these molds are often quite dificult to make in their own right. At the foundry, melted wax (see below) is poured into the mold and I approve the wax cast, ensuring that the fine details of the original have been preserved. At this point, I sign and number each piece.

The wax is then is repeatedly dipped in a ceramic and sand slurry over many hours to make what is called an investment mold; this is heated, melting the wax within and preparing the mold to receive the final molten bronze that is poured at 1100 degrees C. When the bronze cast is completed, any necessary welds are made and the raw bronze (see below) is ready for its patina.

The patina-the chemical finish of the piece-is then applied in the colour(s) of my choice, giving the bronze its final depth and appearance. Each of my unique pieces is produced in limited editions of only eight, along with artist's proofs. From start to finish, this intensive process can take anywhere from eleven to sixteen weeks for a single sculpture.

About Me

My Artistic Philosophy