Every sculpture begins long before I build the armature in my Oxfordshire studio. More often than not, it starts outdoors, sometimes thousands of miles away, immersed in the landscapes, studying animals in the natural world. Research is undoubtedly the most important part of my sculpting process. Nothing compares with observing an animal in its natural environment.
Many of my most recent bronze sculptures were inspired by time spent with Nomad Tanzania in early 2025, watching wildlife across the vast plains of the Serengeti and within the extraordinary Ngorongoro Crater. When I’m there, every sense is heightened. I watch, listen and absorb everything around me, storing fleeting moments that photographs alone can never fully record. That visit inspired a series of leopard sculptures including Leopard Lookout, Leopard Climbing Down A Tree, Leopard Cub Head Study and Leopard Jumping Out Of A Tree.
Feeling the proximity of these animals and witnessing their behaviour first-hand creates memories that stay with me long after I leave Africa. My aim for every sculpture is to convey something of that experience—a moment in time that I was fortunate enough to witness and reinterpret in bronze. Like a leopard descending from a tree, or standing watchfully on a branch, with such a sense of assurance and effortless balance. Or a curious leopard cub exploring its surroundings. These are moments I have seen unfold in front of me and I return to them again and again in my work.
It is an immense privilege to observe these animals. My camera allows me to record still images and movement, but I also travel with sculpting kit and scaled pre-made armatures, housed in a box I adapted specifically for working in the field. Wherever possible, I make quick studies while the experience is still fresh. Photographs are invaluable, but they can only record a single instant. What stays with me are the moments between—I carry those memories back into the studio, and ultimately into the bronze.
