sculptures arise from the mechanics of the materials I need to use
to develop my concepts. I work in two forms of sculpture. One of
taking away material, such as the bone work I do. The other where
I add material and items to the piece, such as metal, cloth, wood,
clay, or wax to create the structural work.
making 3D works, form, styling, and the consideration of all sides
must be taken into account. Sculpture therefore provides me with
different challenges, a different way of thinking and working. Using
other materials to bring my ideas to light often means having to
learn on the job how best to work with them. Some
pieces are large, grunty works, others may be small or delicate,
but it's the thought that counts I think!!
am not a sculptor, a sculptor of clay or marble, etc. That is not
my style, although I do use clay from time to time as a canvas and
enjoy the tactile nature of it. I sculpt my ideas, and make sculptural
works from objects, or with objects.
mesh used in reinforcing concrete slab has been used in one of my
sculptures. That was a very large work. Other times I have made
small pieces to sit on a book case. Some out of wood, some from
I have taken to bone carving, not in the style of pendants, but
free standing works. These are delicate singlet / dress forms with
the outline of the canon bone off a cow as an integral part of the
story I want to tell. Canon decrees. Becoming intimate with the
a bone is a privilege I guess. Cleaning: out comes the precious
marrow, scraping, soaking, scraping, scraping, soaking scraping.
Feeling the grain of the bone beneath my saw blade. Thinking also
of the provider and the provider – the bread winner / hunter and
the roast the cook cooks. I value in my bone sculptures, as I must
with all my sculptural works, the flow and view from all angles.
With bone you take away, leaving views you cannot change without
ruining the whole piece. With metal or wood pieces you add, making
sure the view works from every angle - top, bottoms, sides. I also
love the extra dimension that you get when making a 3D work - the
negative space. Most important.
is another discipline to two dimensional works which are confined
to the limits off the sides, be they four, eight, or circular as
in my pot lids works and as often quoted, “a picture paints a thousand
words”. Sculptures are strong, and are the picture really.
dimensional works should, in my opinion, be seamless from beginning
to end. Working with concepts in sculpture is a bit like my jewellery
making. The final work must stand on its own, uncluttered. Therefore
I limit my ideas, paring them down so the main ingredient is the
focus. Any sauce is purely the icing on the cake - enhancing.
abound, it is damn hard at times thinking and working outside the
square, but it is very liberating to pull yourself in and work with
“a limited pallet” of one idea, one focus, that stands alone, but
says so much if executed well. That is what I like about making
my sculptural works.