The making process begins with making low relief forms in clay depicting birds, which echo the appearance of fossils. The stimulus for the images is the current extinction threat to British birds. The Dodo is employed as a metaphor to represent their potential demise.
My hand carved Dodo model. A technique inspired by the traditional techniques used by Wedgwood. The Dodo stands as an icon for extinction, the ultimate end for this species of bird.
My studies of the Great Crested Grebe, a species the RSPB has helped back from the brink, the bird that stimulated the very beginnings of the society by Emily Williamson in 1889. Click the picture to find out more.
Feather sprigs in my damp box, keeping the sprigs in good condition makes all the difference to how well they work.
Sketch book shelfie. Years of drawings and ideas.
A Starling in my sketchbook. They are a threatened species, now on the RSPB red list. Click the picture to see a starling mumuration.
Freshly cast pieces, trimmed and drying; after they dry they'll come out of the moulds, be fettled and sponged and dry again ready for the first bisque firing.
My studies of the Avocet from victorian taxidermy specimens in Manchester Museum. Avocets are a symbol of conservation success, used for the RSPB logo.
Refining and finishing the plaster model, before I begin making the plaster mould.
Black porcelain feather sprigs, a test to see if I can use combine two different clays.
Study of the pied wagtail, from a victorian taxidermy specimen in Manchester Museum. A green list bird, often seen in car parks for some reason!
A plaster model, ready to begin making the mould around it.
A waiting plaster mould, ready for casting with either porcelain or parian slip.