Although my artwork has evolved over the years, I continue to use simple tools and materials. The clay and bronze figurative sculptures range from the abstract to the realistic – about half are sculpture reliefs – and all reflect my distinct style.
I have a sculpture studio built onto the side of my home in Astoria, Oregon, where the climate reminiscent of my native Southern England, great community, and beautiful historic setting contribute to a creative and inspiring atmosphere.
Astoria is the burgeoning art center of the Pacific Northwest, and perhaps its best-kept secret is the "special light.” My sculpture studio, which has large windows facing north across the Columbia River, provides ideal natural studio light as well as a tranquil setting.
When sculpting, I have an image in my mind's eye, and then work single-mindedly for hours on end. Creating each sculpture is like a voyage of discovery, and I find that keeping a sense of humor is important. Of the many steps required to make a bronze sculpture, I think the greatest enjoyment and therapeutic value is in the initial modeling stage of the clay sculpture as well as in the final viewing of the finished artwork.
I use a variety of clay called "sculpture-mix," a white IMCO™ clay with a high grog content – very gritty. It's robust clay, and I’ve used it to make sculptures having a wide range of unsupported shapes, including hollow torsos. I use many different surface textures on the clay, but I rarely use glazes. Sometimes I carve the surface of the hard clay before kiln firing, which yields a smooth but pitted surface. For a bronze sculpture, the traditional liver of sulfur and ferric nitrate patina adds a range of colorations to this palette of surface textures, from shiny bronze to black.