Where to begin?

Much needs to be considered when commissioning a piece of sculpture. The starting point may have an idea which you wish to develop with me as your chosen artist , it could be a portrait or something completely different with particular context and set of constraints . Alternatively you might intend to give a free reign to create a work- my particular style of work already seen as  your reference point. The best way to get in touch is at the studio by email (see enquiry page).

In the case of commissioning a portrait bust or figure, there is a difference between commemorative work to that of people still alive. With memorial work, often public pieces, I rely on visual material gathered from many sources and there is time set aside for research. When I work directly from someone, often as a private commission, a series of sittings need to be arranged and details of these need to be discussed.

How long will it take?

A portrait head or bust should take between 4 and 6 months from start to delivery. Usually a third of this time taken up by the casting process at the bronze foundry. For commemorative commissions a maquette (a small working model) often accompanied by drawings, is a good starting point for consideration and discussion with all interested parties. Working and casting time on these pieces can be considerably longer depending on thier complexity.

How are the sittings arranged in the case of a simple portrait bust for example ?

The location, number and duration of sittings are regularily driven by the client's other commitments. These sittings can be organised in a number of different ways dependent upon the client’s preference and the distance from my studio to the client’s home: they can be set apart or organised in a concentrated block; they can be based at the client’s home or in the studio in Clun. If I travel to the client, which I am only too pleased to do, I might organise to stay locally. I am equally happy to host sitters in my studio in Clun, Shropshire, UK. I have observed, however, that a familiar home environment is often the most relaxing and natural setting for people where essentially they are most themselves. A quiet, well lit space is ideal. Once in a while there is a request for secrecy as the portrait is to be a surprise, in which case the sittings need to be arranged at some other, mutually convenient place, perhaps at the house of a local friend or acquaintance.

How long are the sittings?

At best I require an initial session of 2 hours to measure, sketch, photograph and set up the supporting armature for the portrait. Ideally I aim for a minimum of a further 4 or 5 sittings, each lasting about 2 hours. If this is not possible then I shall do my best with less, but to a large extent the end result hangs on the knowledge and rapport built up between artist and sitter. 

I regularily work on the piece in between sittings, it is helpful not to move the sculpture at this stage as the clay is vulnerable to damage.

What are the sittings like?

Despite initial assumptions that the whole experience will be nerve wracking, most people soon start to really relax and enjoy this time out from normally hectic schedules. I do not require the sitter to remain immobile caught in a particular light as in some painted portraits- where a sitter might have to ‘freeze’ into a particular pose which is quite tense making in its own right. On the contrary, animation is so important in my work that I focus hard being altogether less formal and on bringing out the sitter’s natural expressions and the full range of facial mannerisms. The portraits that I have so far exhibited at the Society of British Portraits Sculptors in London aim to exude character.

Chatting from a reasonably comfortable chair, with regular breaks and refreshments is the order of the day. People are often fascinated to see the piece take shape, and this time allows me an insight into the life and experiences of my sitter which bears a direct relevance to the qualities in a person's face and their whole demeanour.

An additional advantage of working from a client's home is that the immediate family get a chance to see the project develop, and in return I get the chance to recognise the family traits ebbing and flowing between family members and generations. Just as the differences in bone structure and face shape throughout the world fascinates me, so too does familial likeness. I have portrayed four generations of one family, all different ages, and look forward to doing more.

What happens when the sittings are over?

When the original clay work is finished and approved it is taken to the foundry to be cast into bronze. Should the piece be too big to be moved, the team from the foundry will take an impression of it in situ. Once the process is set in motion, it is possible to follow it at the more technical stages at the foundry and I often take clients and visitors with me for visits, which are normally enjoyed and appreciated.

Details such as patination (the chemical colouring) are agreed with the client at this point. Some sculptures are not self supporting and therefore need to be set on a plinth or a base. This needs to be discussed and agreed in time for delivery back to the client. If a whole figure is commissioned, particularly when it is larger than life size, the groundwork is organised by the client but the fixings, delivery and installation are overseen by the foundry and myself.