What’s the appeal of chasing?
I draw in very tidy, very accurate curves and that transfers very well to chasing. It’s also the way my character is; I have endless patience. Chasing as a technique is very slow, it's not immediate. A beaker, for example, would take me seven or eight days and I'm very happy with that sort of pace.
Can you describe your creative process?
I like reading, doing research, taking lots of photographs and picking out images of things that I find interesting – in stonework or woodcarving – and printing them out. I start drawing, putting things together and balancing them, photocopying them and finally building a balanced image.
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How does Shetland influence your work?
It can't help but feed in because my studio overlooks the sea and the sea changes every day; the weather changes every day. The scenery, the wilderness and the freedom are a major part of living in Shetland and although I go to London often, I couldn't live anywhere else.
What do you try to convey to your students?
The practice and the skills. When young graduates come here, they are often amazed at how fast I can do things, so I try to get them to make things the way I've been shown. It’s trying to think problems through and doing things in a certain way that produces results; fast, but also very correct and meticulous.