Ammonite

Nereid

My sculptures are about transformation at the point where biology and mythology overlap. Often referring to metamorphosis, evolution and fossils, they suggest ambiguous identities. The starting-point may be anything, from seed pods to pelvic bones, from Aztec myths to spontaneous and random encounters of hand and clay. 

Everything is sculpted in clay first, then cast into plaster and wax.  The process of lost-wax kiln casting is analogous to that of fossilization; both are processes of inanimate memory: the preservation of form which survives the replacement of material.  The firing can take up to a week as the thick glass slowly cools.

Translation into glass allows light to penetrate the form, articulating its interior space. The new material contrasts strongly in its translucence and hardness with the original sculpted clay, but still bears the marks and textures of its former softness.