Light Obscurity

Once the final coat had been applied, the artwork was packed and dispatched for installation at Broomhill. It was great to finally see the sculpture in the environment it was intended for. The location in the grounds allows the work to be viewed from multiple angles, the white surface reflecting the dappled light beneath the trees and the surrounding plants.

I would like to thank the Broomhill team for their support to realise this work. If you are interested in receiving updates on future projects please visit, and leave your contact details.

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Preparing the Foundations

Photo1Once all the preparations had been made, the carving process could begin. The piece was created in two halves, preventing damages and enabling the incorporation of metal work to stabilise the sculpture. To ensure the proportions were accurate, I created a basic outline of the shape before returning to finish by hand the depth and curvature.


When the shape was finalised, the holes were sculpted and the work finely sanded. I completed the foundation by applying a polyurethane hardener, preparing it for outside display and adding a final matt white coating.


Location, Location, Location

Last month, I had the pleasure of visiting Broomhill and experiencing the sculpture park for the first time. Broomhill has a beautiful setting, made vibrant with works by Artists such as Sandy Brown and Roland A. Westerhuis both in the grounds and displayed within the Gallery. My visit allowed me to consider the colour variation in the landscape and the materials that would work best within the environment.


3D Render of the Maquette

Once back in my studio, I created a 3D render of the maquette to replicate the sculpture on a larger scale. A projection of the model onto a polyurethane block whilst carving, allowed me to work through the varied aspects of the structure. Using imagery taken at the location, the sculpture was superimposed into landscape and final adjustments were made. Colour variations were considered and altered until deciding on a matt white to juxtapose the environment.


3D Model in Broomhill Location

Establishing Form

In previous works, objects and projection were temporal. Drawings were the only remaining traces of these environments, illustrating their dramatic deterioration. Using highlight, shade and navigational lines, these drawings have helped to establish the three-dimensional structure for the Broomhill maquette.


Observing the impact of negative space in Manet’s Music in the Tuilleries, in particular the etching The Balloon and Michael Andrew’s Light series, I hope that the isolated shapes I have designed will make momentary projections tangible and persistent.


Carving the Contours

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Illustrating the carving process for creating the maquette, using a file to shape the Polyurethane.

My work focuses on the narrative of negative space and the complex impact of a missing object on a remaining structure. Previously, artworks were made from fragile glass and microcrystalline wax for unique filtration of projected light. Object and projection are temporal, each dramatically altered by their environment and rate of deterioration.
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