Are the pieces fired? For now, no, they’re unfired. I work with air drying clay but make it really thick. I like to work quite organically with the clay, using thick pieces, allow it to dry, and then use a sanding machine, before applying six, or even seven, coats of varnish. I really try to build up that protection because the material itself is very fragile.
The heads on which your pieces sit are very abstract. On one hand they resemble something recognisable – a human face – but they can also be interpreted as inanimate shapes. Is that relevant? Yeah I think that’s important to pick up on. As hairdressers we all have techniques, but fundamentally it’s the outcome that’s important. Some clients like to understand why you’re cutting a certain way, and have things explained in depth, but mostly the client really doesn’t care if you’re putting hair up at 34 or 37 degrees. What’s important is – does it look good? Is that shape done well, is it suitable? But those things were thrown out the window when I started this project, removing the human aspect to my work with limitless possibilities. The heads I had made for me are featureless, a way to recreate my own narrative piece by piece. That’s why I specifically chose very contemporary, elongated head supports. There was no limit, no nose or ear that I needed to cut around. I can put any shape I want onto the head, and the pieces become lifelike within their own space. Whereas with a client, it’s very much them that makes their haircut, because of their look, their bone structure… it’s an extension of them.