Backstory

Portugal 2024

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. From sculpting in oil-based clay to creating molds, casting replicas, and firing porcelain in the kiln, each step is fraught with uncertainty. Warping and cracking become part of the sculpture’s story, a testament to resilience and transformation.

This process mirrors my own artistry. I can’t help but see reflections of my own challenges in these sculptures—unwanted transitions, relentless trials, and the constant quest to improve. I fail miserably at times, but every so often, there’s a fleeting moment of bliss when it all comes together.

Techniques

MEDIUM:
Chavant NSP Medium
https://chavant.com/chavant-nsp
Plaster of Paris for mould making
Porcelain (added fibre)
https://www.sio-2.com
Tools (I used a few fine details tools from FormX)
https://formx.eu/tools/index.php

TECHNIQUE:
I began by working with Chavant NSP, an oil-based clay of medium strength. Given the intense Portuguese summer heat, I chose this clay expecting it to hold its shape better under such conditions. Even so, it proved surprisingly firm and required softening. To make it workable, I left it outside in the sunshine until it reached the desired pliability.

Using this clay, I sculpted a partial figure of a reclining male. I started by forming broad shapes, gradually refining the details and smoothing the surface to create the finished model. Once satisfied, I created a plaster mold of the sculpture. After the mold had fully dried, I applied a thin layer of porcelain to form replicas of the original figure.

These porcelain forms became the foundation of the next stage. I manipulated, broke, and cracked them intentionally to achieve the desired aesthetic. It took multiple attempts with a particular figure, Emrys, before the dry porcelain clay cracked exactly as I envisioned, completing the transformation I sought.

Emrys was bisque fired in an Electric Kiln at 1220°C in Portugal at:
https://www.cerdeirahomeforcreativity.com/homepage_en

Exhibition:
Showcased at the Maker’s Space Exhibition ‘This Is Me’ 2024 in Cyprus
Entered into the London Art Biennale 2025 (awaiting selection) in the United Kingdom