Casting from found, organic, natural material, these sculptural works are able to remain true to the original, echoing the natural form and shape of the materials found in and around our landscape. Staying true to the original form is an incredibly significant aspect to these works, I am letting the original form be the artwork itself, exaggerating this natural beauty by presenting the organic matter in the form of metal and plaster. Through casting directly from the organic matter, I am able to achieve works that are textured and extremely tactile, obtaining every crack, delicate mark and pattern that can be found in nature. The textures found in tree bark and the minute vein-like lines within a conker shell are perfectly obtained within the solid sculptural works.

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Casting from decaying tree roots found in the Forest of Dean as well as fallen Autumn seeds and seed cases further portrays a poignant gesture to preserve what is being lost, as a metaphor for how we must endeavour to appreciate our natural world and preserve what we have on our green planet for future generations, with a strong emphasis on the forward trajectory for possible and potential futures.

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In the face of society’s inevitable human ‘progress’ this body of work aims to illuminate the need for a steadying of pace and to establish a deeper appreciation of the natural world, whilst focusing on our intrinsic ties with nature. The casting of living objects in metal immortalises an ephemeral organism, symbolically juxtaposing the fragility of their existence and providing a sense of permanence for an otherwise delicate and often overlooked living entity.

Preserving what may be deemed an insignificant object such as the shell of a conker further questions our current structures of thought, placing an importance upon the object by casting it in pewter highlights how precious life is and the intricacies of the world around us.