Twenty one pieces across three collections, each one turned all the way around, because a shape that only works from the front does not really work.
ScrollA drawing only has to work from one seat in the room.
I have spent eighteen years making flat things: marks, layouts, labels, posters, screens. All of it is composed for a single viewpoint, and a great deal of the craft is knowing which angle to compose for and then defending it.
Sculpture takes that away. There is no front, no chosen angle, no crop to hide behind. A shape that only works from three quarters is simply a shape that does not work. That is a slower and more honest way to find out whether an idea was ever any good.
What follows is in three parts. The Baron Minker material is entirely mine: characters and objects out of a universe that had nowhere else to exist. The comic characters are studies of figures I grew up drawing, made for no reason beyond wanting to find out whether I could get them to stand up. The rest belong to nothing yet.
Three collections. Every piece turns.
The universe. Characters, a vehicle, and whatever else the story turned out to need. None of it borrowed, none of it commissioned, and none of it finished.
9 pieces · 78 turnsThe Baron, built a second time, and finally right.
A name that turned up before the design did.
Somewhere between an insect and a piece of furniture.
A line of studies of figures I grew up drawing. No brief, no client, and no obligation to be reverent about any of them.
11 pieces · 106 turnsA figure whose only real subject is size.
Mostly attitude, which is hard to sculpt.
The helmet is the character.
The one that belongs to nothing yet. It exists as a physical puppet too, which makes it the odd one out twice over.
1 piece · 8 turnsSculpted digitally, judged the old way.
Each piece is built in the round and then recorded turning, because a still image of a sculpture is just a drawing again and hides exactly the problems the sculpting was meant to expose. What you are looking at on every page here is the same footage I use to decide whether a piece is finished.
Characters, objects, props, or a shape that only exists in your head so far.