In the past couple of years I have been exploring further ways of expressing my deep interest in the form of the horse. It felt a natural progression to turn my hand to clay.

Moving on from the two dimensional form of drawing and painting to the three dimensions of sculpture felt both new and exciting yet familiar and intuitive at the same time.

I have built up a small selection of pieces which are available each as a limited edition of 9.

Sculpture.

My Technique.

I love working with clay. There's something satisfying about its pliable earthiness — the direct process of pressing and moulding it into shapes and forms. It taps into a childlike joy of creation. The horse, the creature I know and love best, was a natural starting point for my sculptural journey.

My starting point is sketching. Direct observation of horses in their natural environment , followed by rapid drawings from life help me form a deeper knowledge and understanding of my subject and an idea starts emerging. Whether it is a horse enjoying a roll, at rest , or moving more dynamically, a feeling of movement, rhythm and a flow is what I am looking for, and want to express.

My technique is direct . I like working rapidly, feeling a sense of urgency in capturing the spontaneity and movement of the subject. The feel of clay in my hands, the marks my fingers leave on the surface, are integral to the process. I use tools sparingly, preferring the natural shapes formed by the hand's movement.

I choose to create freestanding pieces, without a base or plinth, as it gives both the process and the viewer freedom — allowing the form to be seen from all angles, without the constraints of a fixed perspective.

The Casting Process…

  • 1/ Making a Silicone Mould.

    A silicon mould is created from the artist’s original sculpture which picks up all the detail down to the finger prints.

    This allows the artist to create an edition from one mould.

  • 2/ Wax & Running System

    A wax replica is made by pouring molten wax into the mould and allowing it to cool.

    A system of wax rods and pouring cup (the bit in the pic underneath the replica) are then attached to the sculpture which allows the molten bronze to flow in and fill the sculpture.

  • 3/ Creating a Ceramic Shell.

    The wax and its running system is then covered in a slurry and coated in ceramic grain to create a shell.

    This is repeated after each layer has dried until the shell is strong enough for the molten bronze to be poured into it.

  • 4/ De-Waxing the Ceramic Shell.

    The wax is then removed by heating up the ceramic shell which causes it to melt and flow out, leaving the pattern of the sculpture inside.

    When it’s casting day, the ceramic shells are cured in a kiln at 850°C so that they don’t crack from the temperature difference when the molten bronze is poured in.

  • 5/ Casting in Bronze.

    While the shells are curing the bronze is placed into a crucible and brought up to its melting point inside the furnace.

    The molten bronze is then poured into the ceramic shells pushing its way into every detail, before contracting as it quickly cools.

  • 6/ Fettling & Chasing.

    Once the shells have cooled they are broken open to reveal the bronze sculpture.

    The running systems and pouring cup are carefully cut off and then it’s time to refine the sculpture through the process of chasing.

    Larger sculptures are cast in sections and welded together.

  • 7/ Patination.

    This is an ageing technique using a range of salts, chemicals and heat to accelerate the natural process.

    A wide range of effects and colours can be created and sample plates are used to help the artist decide on the most suitable one for their sculpture. Once the patina is applied, renaissance wax is used to protect and enhance the patina from the elements.