Fine tuning

On a sculpture of this scale a great deal more time is needed to get the forms as I want them. I can’t imagine why this should come as a surprise to me but somehow a part of me expects things to go faster. Now the sculpture is hanging vertically it became clear that one area of the loop was thinner than everywhere else. Two full days were needed to make the loop more even. With the strong lines flowing round the carving it is very apparent when there is a lump or a wobbly line. It is very easy to read how the lines should flow. As a result, my errors are horribly obvious for all to see, or at least so it seems to me. I have ground away the space between the crossing forms and their remains a tiny bridge between. I do not suppose this little bridge provides much support for the overall structure but it must be less vulnerable than removing it altogether.

Back Blogging

After a shamefully long interlude I will try to blog once more. Once you get out of the habit it seems hard to pick it up again. I have been working hard all autumn completing various commissions. They have been sent off to Ireland and Mexico and I am now turning my attention to an exhibition at Heligan starting at the end of 2015 and running through the next season. This is a great honour for me as I consider Heligan one of the most magical gardens. I am hoping to install a series of carvings that can do the place justice. This is the first of the series, seen in the gloom of my studio this evening.