Can you tell us a bit about the process of wire armature?

I will take time making the armature as it is the skeleton of the sculpture it needs to provide the balance and weight. As work progresses I am always prepared to change the structure by bending and cutting if I feel the armature is interfering with the flow of the form. It’s a balancing act as you don’t want the armature to dictate how the sculpture will look.

How do you get from idea to final sculpture?

By looking and studying the form and character of interest I sketch out my ideas in wire. I may use an armature or just begin with shape and form. I use drawing to help me explore areas of the body that I am finding hard to develop and will use both the drawing and sculpture to inform and guide me.

What is an animal/subject you keep going back to?

I revisit lots of animals as there is such variety, scale and to explore. For me it is about capturing the character and movement of the subject and all animals can offer this. I have recently revisited hares as I am always in awe of the pure joy and freedom of movement they display. I approached making them with wire sketches to create fluid lines with no armature however the process can be challenging as the form can easily slip away.

Which artists & sculptors inspire you?

I’m interested in figurative artist’s, painters and sculptors, particularly Lucian Freud, Albert Giacometti and Elisabeth Frink as they encapsulate strength, vulnerability, movement and character within the figure and have an amazing understanding of form and shape.

Can you describe a typical day in your studio?

I am always thinking of my work and how I can develop and experiment with new ideas, techniques and materials. I’ll put some tunes on and enjoy getting lost in the process of making. I like to work on several pieces at once as I find it easier to break away from something that isn’t working and have lots of ideas, drawings and sculptures on the go.

What materials and tools are most important for something working in wire?

Strong fingers, lots of patience and a willingness to make mistakes! Also pliers, tin snips and scissors are good.

Whats the best piece of advice you've been given as an artist?

Keep going regardless and enjoy the process of making, be unafraid to make mistakes as this is progress to be learned from.

What are you reading at the moment?

Down the rabbit hole, the misadventures of an unlikely Naturalist by Charlie Bennet, Four Seasons in Japan by Nick Bradley and Corvus a life with birds by Esther Woolfsen.