Working with clay and pigments.
The piece evolves day by day. I don’t always seek anatomical accuracy; the feel of the work is more important to me. I often use gestural marks and imprinted symbols on the surface of the clay, particularly when I feel the subject has a tale to tell.
Starting with clay, I have to decide: is this piece destined for the kiln, to be treated with glazes and oxides and then fired to stoneware? Or is it going to be cast in bronze (or some other metal resin)? The two sit side by side, the fired earth and the metal.
I love them both.
"One eye sees, the other feels."