PROCESS
My sculptural process is constantly in motion. I find that, as my current project progresses, I am inspired by the lines, shapes, and materials, and a concept of my future project is revealed.
With a concept in mind, I like to visit industrial metal supply companies, companies that warehouse North American and exotic woods, and stone yards with open crate access. These tactile experiences help me to further refine my original vision.
Next, I start developing small thumbnail sketches and clay modeling. This helps me develop motion and scale, then the dimensional formation starts both physically and virtually. I transfer photos of the sketches into a computer where malleable virtual space allows further experimenting. When I’m satisfied with the shape, I start deconstructing the form into constructible sections that, later, can be transferred into templates for the build layout. I build a scaled-down wooden maquette version to better resolve the real-world assemblage tolerances that the virtual environment does not account for. Then template tracing and material cutting and shaping starts.
As my expertise has evolved, so have my tools. Originally, I started with a small handheld angle grinder with a home-made water attachment. I’ve now added traditional stone carving tools as well as more modern waterjet and plasma cutting techniques.
CASE STUDY:
“Praying Angel/Angel of Prey”, constructed of aluminium and gemstone, is an example of an abstract language that I’m attempting to develop. The duality of the single form represents two contrasting scenarios. The facing side has the form building upward and out, cascading to unveil an angelic formation. The opposing side tangentially builds inward then concaves further down forming a dominant and foreboding expression.
