Begin life as a pencil drawing on paper. Roll a slab of clay out like a piece of pastry, cut it to the size of the drawing. Redraw the image (scratch/cut) on the clay. How long does it take? Don’t really mind, sometimes it goes well, sometimes not.

 

Usually one element eludes me while another part of the sculpture comes together well, almost immediately. Sculpture finished in wet clay. Pour plaster over sculpture – destroy sculpture – but have mould. Hand press clay into mould. Creates subtle distortions and imperfections in the clay which I like. Liquid clay, slip, doesn't do this. Re-work the wet clay sculpture. Numbered editions of fifteen. Paint it, watercolour mostly.

 

Using almost the same palette each time makes for a nervous but familiar painting experience but not a repetitious one when spread over a couple of years. Strange to paint – very porous surface – pause mid-stroke and you get an indelible tideline.

 

Hence, at times I paint fast and wet. The pigment seems to sink into the surface which I like very much. Acrylic – occasionally, as a resist, for true white or if I want colours to sit on the surface as highlights and details. Gold leaf – because nothings quite like gold. Seal the surface. Mount on painted board and frame. I used to frame under glass, now mostly seal the surface so the sculpture can be touched – more tactile.

 

They’re three dimensional and it’s only natural to want to run your fingers over them. Came to this conclusion after taking part in an exhibition raising funds for the blind.