I am an artist working in clay, and my ideas start in my sketch book. I draw regularly, scribbling down images and ideas. Some of those are developments of of earlier ideas and some are new. They could be based on something or someone I have seen, a memory or random thought. When I go into the studio I don't necessarily start with the most recent work, sometimes it might be an old idea, but the time seems ripe for it. Sometimes I have a definite plan, but mostly it is process that stays open to new ideas.
Other pieces take their direction from the nature and qualities of clay.
My prime concern is the character, expression or idea of the work, which could be in the face or pose of the figure, or it could be in the shapes, colours or whatever.
Technically my works fall into two categories-firstly hollow works, made with common clay techniques (eg coils, pinch pots) and modeled figures, where the clay is sculpted into a form then hollowed out.
The finish needs to suit the form and materials. In some works I use simple treatments, but I often use mutliple layers, drawing on my experience as a painter. The most complex surface treatments are often used on bigger and simpler forms. For example in the large devil figures I am aiming to create a dense patina, like a crumbling edifice of an old building, Made up of lots of layers, even some peeling off.
I occasionally use dip glazes, when I think it will suit the work. Most commonly I paint the surface with ceramic slips, engobes and underglazes. I often use the natural colours of the various clays I use (terra cotta, BRT etc) and found objects such as nails and screws.
Other pieces take their direction from the nature and qualities of clay.
My prime concern is the character, expression or idea of the work, which could be in the face or pose of the figure, or it could be in the shapes, colours or whatever.
Technically my works fall into two categories-firstly hollow works, made with common clay techniques (eg coils, pinch pots) and modeled figures, where the clay is sculpted into a form then hollowed out.
The finish needs to suit the form and materials. In some works I use simple treatments, but I often use mutliple layers, drawing on my experience as a painter. The most complex surface treatments are often used on bigger and simpler forms. For example in the large devil figures I am aiming to create a dense patina, like a crumbling edifice of an old building, Made up of lots of layers, even some peeling off.
I occasionally use dip glazes, when I think it will suit the work. Most commonly I paint the surface with ceramic slips, engobes and underglazes. I often use the natural colours of the various clays I use (terra cotta, BRT etc) and found objects such as nails and screws.