Sculpting the human figure in bronze is steeped in tradition..but I am drawn to the example of the French sculptor August Rodin who over a hundred years ago also drew quick one minute sketches of his life models in his studio. What was he looking at? It may have begun with the formal aspects of drawing , gesture, observation of line shape form perspective etc..
But what happens when you draw another human moving? Interpreting a particular movement leaves little room for what is unimportant or irrelevant. For me this sense of urgency has become liberating.
I sculpt by manipulating wax which is then cast in bronze. The chewy stretchy character,of this wax, suggests the ephemerality of movement,. I chase the movement, not in a literal sense but as evidence of the memory of what has happened.
There is an evolution in the way marks are made too.The movement becomes a shape. The movement becomes a form. The space around and in between is just as important, as it emphasises the relationship, tension and connection to each other.
It is about recognising that, as we move through time, the things we do are a reflection of our beliefs and who we are: who we love, what we desire, what we fear, who we admire, what we share, what we don’t expose. For me drawing the figure in movement is a vehicle for drawing what it means to be human. As we move through time and as we move through the space we occupy we respond to each other and what is happening around us..It is just ‘What We Do’