My Artistic statement
My primary medium of expression is the microcrystalline wax, a material that offers a unique plasticity, akin to the tactile experience of working with bronze at ambient temperature. This characteristic facilitates a direct translation of the visualized form, requiring no pre-established armature; the image is thus sculpted directly from the mind, through the hand, allowing for a comprehensive exploration of the subject from all conceivable perspectives.
Subsequent phases of creation often involve the employment of natural clay or plaster. I find myself equally adept with both materials, although the inherent characteristics of each may, on occasion, elicit a degree of frustration, a recognition of the alternative medium's potential advantages. However, both offer a rich palette of textural possibilities, dependent upon the degree of compaction, moisture content, and the application of finishing techniques such as burnishing or filing
The matador came from a crack in the paving stones for the bull see animals gallery
My inspiration is derived from a diverse range of sources. A significant body of my work has been informed by mathematical principles, specifically symmetry, parallel lines, and the Möbius strip. Even within these abstract frameworks, elements of their metamorphic character are derived from the observation of natural phenomena, such as the branching patterns of plant life, the fissures in paving stones, and the dynamic forms assumed by water in motion. This synthesis of abstract and natural forms constitutes a central tenet of my artistic practice
The creative process itself frequently dictates the trajectory of the work. The manipulation of wax sheets, for instance, has led to the realisation of painted imagery from ancient Greek vases in three-dimensional relief. Furthermore, the process of mould-making, wherein a positive image is transformed into its negative counterpart, is a recurring element.
A consistent thematic concern is the representation of equilibrium, the precise moment of balance prior to an impending state of disequilibrium. It is my intention to capture this ephemeral state, thereby conveying a sense of dynamic movement within the sculptural form.
The act of creation is, for me, an imperative. The utilization of unconventional materials, such as mud, knives, and fire, provides a distinct sense of liberation. The manipulation of steel rods in the construction of armatures induces a state of focused concentration, a detachment from temporal and spatial constraints.
During the act of creation, a sense of singular focus is achieved, the external world receding in significance. The selection of a specific piece of clay, precisely calibrated to fit within a larger, predetermined structure, exemplifies this state of immersive concentration.
Furthermore, my work engages with issues of social relevance, encompassing themes of peace, the role of peacemakers, and the societal treatment of women. From the early stages of my career, addressing issues raised by the "Me Too" movement, to more recent works addressing abuse and violence against women, my intention is to address these complex subjects without compromising the aesthetic appreciation of the human form.
Ultimately, my objective is to communicate a message of care and empathy to the observer, achieved through the deliberate manipulation of compositional movement and the nuanced textures inherent within each piece