‘Contour’

The Contour series encompasses various materials, disciplines and techniques, exploring contrasts such as solidity with fragility, or fluid lines with rugged, sharp or torn edges.

The Starting Point

For my first experience of working with wood, the starting point was to recreate what could be a softly draped bag or pouch, and to convey a sense of fluidity and movement. Later, this led to an examination of folded, scrunched and discarded pieces of paper - each piece a sculptural, but often impermanent, 3-dimensional form, its surface an intricate web of indentations, crevices and opposing planes. Later still, seeing how 2-dimensionality sometimes returns, whether partially or wholly, and erosion and eventually fragmentation occur.

‘A Delicate Line’

2025

Hand-carved sculpture in lime. 15x10x7cm.

As the form emerged, it evolved into something more ambiguous than the original idea, and I found myself leaning into this and letting the mistakes and accidents become part of the process, treading a line between solidity and delicacy, strength and fragility.

The female torso motif, although not consciously intentional, became quite important, and as I refined the top edge, this conjured thoughts of fragile rose petals evolving into antlers, often symbols of strength.

‘Contour Mahogany’

2025 - 2026

Hand-carved sculpture in mahogany. 17x17x3cm.

As I worked on this piece, my second sculpture in wood, it became a miniature rugged landscape. Carving deeper and deeper to create hills and valleys, the process reminded me of contour lines on a map. On completion, after sanding and waxing, the piece has become more stylised, making me think of contouring as part of the fashion/beauty world - a makeup technique that defines and sculpts the face and other body parts through shading.

‘Contour Vessel’

2026

Cotton buckram, wool felt pieces, cotton thread. Approx 22x20x12cm.

Exaggerating and stylising some of the crevices and indentations found in a scrunched up paper bag, this vessel was made using millinery block-making techniques and materials. See more about this here.
For the surface decoration I was interested in seeing whether a similar effect to ceramic mark-making and colour glazes could apply to textiles through dyes and stitch.
See also new piece ‘Transition Vessel’.

‘Contour Oak/Cotton’

2026

Hand-carved painted oak; painted and waxed cotton voile; waxed cotton thread.
Approx 20x20x10cm.

For this piece I was interested in juxtaposing the organic, distressed cotton voile with the smooth near-geometric lines of the oak panel, as though it has simply landed upon it, or is possibly growing out of it. Although not intentional, when standing upright, I find it reminds me of the sleek contours of a structured leather handbag, with what could be scrunched up paper spilling from it. Perhaps giving a glimpse into the less perfect or ‘curated’ side of our lives!

‘Contour Silk’

2025

Silk satin organza pieces, cotton buckram. Approx 19x15x5cm.

Here, the shape is very similar to the mahogany piece, but the placement and stitching of small overlapping silk pieces reference perhaps a miniature, stylised patchwork quilt.

‘Contour/Fragmentation’

2026

Gold metallic threads on black vintage straw-cloth background.

Taking further the idea of a discarded piece of paper, scrunched up and partially restored, perhaps over and over to degrade and cause fragmentation, especially at the edges. Recreating through stitch, the mesh of lines, sometimes replacing angles with curves to create contrast and fluidity. The resulting composition brings to mind torn veiling or lace,