Confrontation, energy, curiosity, essence of a moment and interaction
are the main elements that initially draw me to a new subject and are
indicative of the very nature of the animals I have depicted. It is not
purely and interest in animals, but the challenges of capturing the
inherent nature of the subject, particularly where the movement,
flexibility and power of the animal is concerned. The majority of these
animals are extremely agile, able to distort from compact masses to
being outstretched with tense looking limbs or with extremely strong
bone structure with dramatic lines that are achieved through spines,
shoulders and limbs. Also the great sense of weight that can be
achieved through masses of flesh; the tension spring and strength in
muscles and the creases and folds of the skin. thus giving me a wide
variety of expressions to work from one animal.

When approaching a new body of work I produce a large amount of
visual research including film, photography and drawing. Sketching is
particularly important as it provides me with a greater understanding of
the form. The translation of drawn marks provides ideas that could not
flow from photographs alone as they immediately focus my attention on
the strongest elements of the pose. I aim to interpret these drawn
qualities into clay and remove the work from pure representation
choosing appropriate ceramic textures thus enabling a dialogue to
develop between drawing and expression in clay, a jagged line in ink is
re-interpreted as a torn clay edge; an arc of soft pencil becomes a soft
fold. The energy of the animal and the tautness of the pose are
conveyed by a distortion in the medium. I endeavour to avoid my work
appearing over handled, but stretch and tear the clay often to the point
when it splits and breaks to accentuate the surface. This forms an
essential part of an investigation into statement by omission. Through
leaving out features ofthe animals and focusing attention on negative
space within the form I felt enabled me to convey the spirit that
animates it.
I also examine skeletons, which help determine the bone structure and
how the animal moves by studying the joints and the overall form of
the animal I wish to portray. I then add some of these sections into
the piece by using found objects for example a jaw bone or claw on
a hare may be represented by a gnarled steel nail inserted into the
clay before firing. The work is built from a variety of clay bodies
combined in different ways depending on the piece. For the large scale
pieces I wedge 50% of porcelain paper-clay, for its translucent qualities
and plasticity, with 50% white stoneware paper clay for its strength and
dry surface qualities. I never fully mix the clays to enhance the contrast
of the textures and colours once fired. For the small pieces I combine
earthstone 40 again for strength and texture with Audrey Blackman
porcelain as it becomes translucent at relatively low temperatures, this
is particularly useful when constructing the hare’s ears. The pieces are
then fired to1140 0c with a good soak to increase strength without too
much risk of distortion. I apply all colour after the first firing as this
enhances the surfaces rather than masking them. These include oxides
and a wide range of coloured slips and glazes. They are applied
using loose brush strokes some soft and inky to show the folds and
shadows of the body through to bold or pale in order to suggest light
falling across the fur of the camouflage of my subject. The work is then
refired to the same temperature making the clay strong but not fully
vitrified so as to retain the contrasts of colours and texture within the
clay surface. Some of the pieces are later smoke fire if required with
areas masked to represent the markings of the beast. Or areas of
colours wiped back to give the illusion of weathering.
On visiting Cairo Museum I found statues that over the centuries have
corroded to a point that arms, legs or even parts of the face were
missing. However If hands, feet or even an ear remained intact, it was
suspended or fixed into the appropriate, original position. Looking at
these pieces, I found that remaining parts were enough to suggest the
piece in its entirety. I am currently working on a series of work with this
in mind, as the experience has made me look more in depth at decay
and restoration/ reconstruction of artefacts. This has always been an
influence on my work but now I am taking those ideas onto other
directions by constructing pieces that are made from fragments that are
assembled on a metal frame. The sections are then glazed and fired to
a variety of temperatures to give the impression of weathering in areas.
It is then reassembled on the metal frame.
I have started to experiment more with bronze over the last few years
as I feel clay can not sustain the demands of some of my ideas in terms
of strength and durability. To emphasise the movement, the fighting
hares are joined in only two points, this would not be possible in clay.
( as the weight of the elevated hare would not be able to be supported)
The more I experiment in bronze the more exciting I find it.
Making the original piece in clay enables me to retain the surface
qualities and the fluidity of the clay. I then have a latex mould made
from this and a wax cast is taken. I worked into the wax, cutting out
sections which I feel are not required, this reveals more negative space
and frees me to enjoy the very essence of the animal without the risk
of destroying the piece. This was most relevant when constructing the
bull and the very nature of the bronze exaggerated the aggression
within the piece. I look forward to experimenting further within this field
and at different stages of the process including working into the pieces
after casting and incorporating the runners and found materials through
to application of patination
I aim to develop my work by continually pushing the boundaries in
terms of ideas, expression and the use of materials.
My work is moving more towards abstraction but I feel the main aspect
of my subject matter that will remain most constant is the principles of
movement. Even in static pieces such as ‘The Raven’ I have tried to
evoke an implication and anticipation of movement. Also the agility of
the hares and monkeys is something that I will continue to explore.