Research, Design & Sculpting
Every idea and every notion start with just a simple thought and then blossoms from there. Well, at least hopefully! Sketching an idea on paper can of course be beneficial, but will rarely ever come close to developing a piece on a turntable. Because there are so many three-dimensional elements at play, especially with Edge Sculpture, Matt intentionally keeps his reference material down to a bare minimum. He much prefers to rely far more on instinct and the mind’s eye as a source of aesthetic judgement than from a picture or drawing.
To be able to work this way and to be able to evolve a sculpture with energy and fluidity means that a sturdy armature is required. Its primary purpose is to have the strength to hold the weight of wet clay as it is violently formed into its desired shape with such purpose that leaves a deliberate rawness within the body of every piece. To avoid creative restrictions Matt always constructs a very simple armature to allow for sweeping changes should it suit.
For a piece to work well for manufacture the composition is exceptionally important and the engineering paramount in order for a sculpture to stand solidly, without weakness. Too frail and the final piece may break, too thick and the piece will become overly heavy.
Sculpting the clay is by no means the final process in terms of completing a piece. Matt has to also work extensively on a production master to counter any potential manufacturing issues and to also hone and work on any required physical changes and alterations that he may wish to achieve.
