I always begin with a clear vision of how a new sculpture might look, yet there are always unexpected moments that emerge during the making process and breathe life into the piece. That kind of magic cannot be forced. Over time, I have learned to let the artwork evolve beyond the original composition or concept, allowing it to speak for itself. Sometimes the starting point comes from a commissioned brief; at other times, it begins simply with a sense of wonder.
I like to plan each sculpture carefully in advance, considering composition, colour, movement, and the story I want the piece to tell. Inspiration can come from anywhere, a walk close to home, time spent observing wildlife, or experiences further afield such as a game drive in the Masai Mara. Whenever I immerse myself in nature, or take time to study it, I feel an overwhelming sense of awe. That creative spark stays with me and becomes the foundation from which the work is built.
Conservation is central to my practice. I have been fortunate to support charities and wildlife organisations through my sculptures, and I intend to continue doing so. Using art to celebrate wildlife, raise awareness, and give something back is at the heart of everything I create.
Once an idea is born in terms of composition, angle, and scale, the sculpting begins. Most of my paper bird sculptures start as an original of clay or wax. An internal armature is first constructed from wire, scaled to the needs of the piece. This supports the weight of the clay while acting as an internal skeleton to guide the anatomy and balance of the sculpture. Clay is initially applied quickly and loosely to establish form, before being refined over days or weeks until the likeness and character of the subject emerge.
When I am happy with the original sculpture, a silicone rubber mould is made. Layers of silicone are carefully applied to capture every detail, while dividing shims determine where the mould will separate. A rigid fibreglass jacket is then built around the silicone to support its shape. Once complete, the sculpture is removed, the mould is cleaned, and everything is prepared for casting.
I cast my work in a variety of materials, from stone composites to metal. My paper bird sculptures are usually cast in resin blended with real stone powders and reinforced with fibreglass for strength. I often add touches of bronze to the bases, as I enjoy the contrast between natural feather work and metal. This process, known as cold casting, uses real bronze powder mixed into resin to create an authentic bronze surface. Each cast is then hand finished: seam lines are removed, surfaces refined, polished, enhanced with paint, and finally sealed with wax.
The eyes are made using glass cabochons, with each iris hand-painted before being fixed behind the glass. This is often the moment when the sculpture truly begins to feel alive.
The paper feathering is then applied. I usually begin with the tail and primary wing feathers, gradually working upwards through the body until I reach the head. I use 160gsm pastel paper, which I have found has the ideal balance of weight, texture, and flexibility. Every feather is individually hand-cut, painted, shaped, and delicately frayed with scissors before being fixed in place. 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.
One of the greatest challenges of this technique is capturing the subtle complexity of plumage. Many birds have extraordinary colour transitions and layered markings that shift across the body. To preserve the natural curve of the paper, I often paint much of each feather before fraying, as moisture can alter its shape. Using acrylic paints and wet-on-wet blending, I build natural tonal variation and depth. Once the feathers are attached, I continue painting across the surface to blend colours, add subtle variation, and apply the final markings.
For darker birds, such as my red-tailed black cockatoo Regalia, I sometimes dry-brush iridescent tones across the feathers so they catch the light, echoing the hidden colours seen in nature. Bringing the sculpture to life with paint is always one of my favourite stages, the final layer that completes both the bird and my own artistic signature.
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.
