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 of the 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 helps
determine the bone structure and how
animals move by studying 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-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 to 1140 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 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 contrast of colours within the clay
surface. Some of the pieces are later smoke
fired if required with areas masked to
represent the markings of the beast. Or areas
of colour wiped back to give the illusion of
weathering.