This sculpture began as a reclining male figure, originally shaped in Chavant NSP—the same form I used to create Emrys. I occasionally revisit a mould, never more than five times, before destroying it. This time, instead of porcelain, I cast the piece in terracotta, giving it more thickness and weight.

It was made in Portugal, bisque fired to 900°C…

Cala began as a study in stillness and inwardness—a hand resting on the chest, not as a symbol, but as a gesture of turning toward the self. The name means inner beauty, and that became the premise: a figure cracked and broken on the outside…

I spend months experimenting with new techniques, navigating a process defined by trial and error—mostly error. It’s in my nature to push the boundaries of my materials, testing their limits until they reveal something unexpected. This approach is costly; many sculptures fail along the way. But occasionally, a piece emerges that feels complete, as though it has weathered and survived the transitions I’ve imposed.

This painting has undergone a transformative journey, and its meaning has evolved every time I have looked at it over the years. Initially titled 'Tentative Grip on Reality', it was created during a tumultuous period marked by existential uncertainty and disillusionment. The faded hand, barely visible…