To create the internal structure of my sculptures, I primarily use metal and wood, often bolted directly through to a base for strength and stability. A clear, detailed plan is essential from the outset—any mistake in the armature is extremely difficult, if not impossible, to correct later.
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Some of my more dramatic works, like 'The Wild Fisherman,' require particularly complex armatures. This piece depicts an osprey mid-flight as it catches a fish—an entirely gravity-defying composition. For this sculpture, the fish serves as the single point of contact with the base. I bent metal to follow the shape of the fish, threading it through the osprey’s legs and securing it to a plywood platform within the body.
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To make the wings removable, I engineered precise slots for the metal wing armature to slide into—these had to be completely zero-tolerance to ensure a seamless fit. This piece is a clear example of how even the most complex sculptures begin with thoughtful, foundational engineering.
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Next comes the process of building out the main form. I begin by creating wooden profiles that define the overall shape, which are then filled with foam and carefully carved to achieve the desired contours. Once the basic form is established, I sculpt the key details—particularly with birds, this includes the feet, claws, legs, beak, and eyelids. I use high-quality clay for these elements, ensuring both durability and precision. A final layer of paint brings the sculpture to life.
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The eyes are especially important in any sculpture. Much like in a painting, they are the focal point, the key to capturing the essence and emotion of the piece. I use glass cabochons for the eyes, painting the iris and pupil on the back of each one. In larger sculptures, such as owls, these eyes add an incredible sense of presence and realism.
Feathers are the most visually defining element of my sculptures. Paper allows for incredible versatility in recreating their texture and structure, it can be cut, shaped, frayed, and painted to closely resemble real plumage. I use scissors to carefully fray the edges, which naturally creates curvature and flow, giving each feather a lifelike quality.
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Feathers vary widely in appearance. Fluffy leg and underside feathers are achieved by making deeper, longer cuts into the paper, which encourages more curl and softness. In contrast, crisp, refined feathers, like those on the wings or back, require shorter, more controlled cuts for a cleaner edge.
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​Feather layering is also a critical part of the process. I always begin with the tail feathers, working forward in overlapping layers, much like natural plumage. Heavily frayed feathers, especially on the body, blend into one another and can even resemble fur when viewed up close. Observing real birds closely reveals that their plumage is far from perfect—feathers may be missing, broken, or clumped together. I like to incorporate these imperfections into my work, experimenting with gaps or irregularities to enhance realism and give each piece a unique, lived-in character.
Finally comes the colouring, a complex and essential stage that brings each sculpture to life. When planning a new piece, I start by carefully selecting the paper colour. This is typically chosen to reflect the mid-tone of the feathers, which provides a natural foundation. Most birds display a wide range of tones across their plumage, so using a base paper that aligns with one of those key shades helps achieve depth and realism.​
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While I could use an airbrush or spray tools, I prefer hand-painting for its subtle imperfections and organic feel. This slightly rustic, tactile approach helps create sculptures that feel personal and alive, rather than overly polished or mechanical and ultimately has been hand made and is bespoke.
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​I’m always experimenting, refining my methods, exploring new materials and tools, and pushing for greater realism and efficiency in each piece I create. While paper isn’t the only medium I use, there's something uniquely powerful about taking a simple, everyday material and transforming it into such lifelike and detailed sculptures of birds as if they were cut from the sky.
