Neurons
The Neuron sculptures and mixed media painting ‘Grey matter’ were inspired by the Hidden World of the Mind and Brain.
They incorporate personal interpretations and scientifically referenced imagery of Neurons and the Brains components in a tangle of Abstract fluidity.
Since the artist researched microscopic images of the brain from cutting-edge science journals, from brain slices at high magnification to MRI scans, Claire is always looking for new and exciting ways technology can reveal new ways to visualise the mind. But the limits of what we don’t yet know and cannot see about something so integral to whom we are always excited the artist.
This inspired Claire to research all images we currently had of the human brain at a factual level.
And combine these with my own interpreted forms for concepts of the mind.
The artist tried to give a comprehensive image of the brain and mind combined.
This piece features biomorphic simplifications of Neurons and working components inside our heads.
This print captures the detail and Dynamic brushstrokes of the original piece in the painted layers to give depth and complexity to reflect the mind as a veiled place of energy and growth.
It depicts the symphony of moving parts at an organic and cellular level.
The piece Grey Matter incorporates layers of white, black, and grey detail interwoven in a complex network, mimicking the complex and busy world in our heads that makes us who we are.
Biomorphic
The artist creates organic abstractions from this scientific information, from everyday Flora and fauna to the in-depth world and forms at the microscopic level to the massively macro repeating flowing patterns such as those in nature reveal themselves.
Claire’s Biomorphic Polymorph sculptures are personal interpretations of the curious natural forms in nature which she is constantly inspired by, ranging from marine corals, plants, the human body, and life at a cellular level.
The twisting forms are reminiscent of nature’s beautiful forms and the deadly. Looking closely at these structures reveals the grotesque surprise of deadly fungus spores, HIV cells and other highly infectious viral and parasitic-like forms.
The visual representations of things we would generally give a wide birth and intentionally avoid. However, this is contradicted by the curious-minded viewers drawn in by the intentional use of an interesting medium and the detailed and intrinsic construction of the sculptures.
The artist’s largest sculpture to date is a 9ft sculpture Titled Biomorphic Polymorph, which was Exhibited in the 2009 final year exhibition At Loughborough University.
This sculpture is predominantly comprised of her signature plastic medium, with a copper and mesh armature interior.
This intricate biomorphic sculpture is the artist’s interpretation of the myriad of exotic underwater floral forms, such as those found in coral reefs.
Coral reefs are among the most incredible natural wonders of the world’s oceans. They come in a seemingly infinite array of shapes and teem with life, but their fragility matches their beauty.
Through the artist’s signature medium (of which this art piece is solely crafted), the artist can create surreal forms expressing growth and motion, which best celebrate the fragile beauty of the ocean’s complex flora and fauna.
The sculpture ‘Beautiful but deadly’ was created for the ‘A Beautiful Death Exhibition’ at the View art Gallery in Bristol. It was a look at nature’s complexity and beauty and complexity.
The Hourglass is a long-standing symbol synonymous with time and death. These are essential factors when encountering many species of beautiful but highly deadly flora which adorn and entwine this sculpture’s glass time-regulating core.
This sculpture is a working hourglass containing white sand. The symmetry and aesthetics of this sculpture were considered when viewed from multiple orientations.
This sculpture contains many famously beautiful yet deadly flowers:
Oleander, Belladonna, Deadly Nightshade, Lilly of the valley, foxgloves, autumn crocus, poison oak, Angel’s trumpet, Daphne, and many more.
Marine
The marine coral-inspired works started with the sculpture “Anthozoa”, a reference to their underwater namesake.
These marine coral-inspired pieces were hand-crafted to explore forms that mimic textured coral structures in the sea.
The artist chose to keep these marine-inspired sculptures white (the colour of the medium’s natural colour) and not introduce vibrant colours like the reefs are famous for to confront the effects of coral bleaching. The phenomenon of why corals leach their colour through environmental factors such as global warming, which leads to the coral starving, and the rising sea temperatures eventually kills the coral.
This piece resonates with the fragility of these oceans’ floral lungs and marvels at their complex alien-like forms.
The artist finds endless inspiration from scientific discoveries in the depths of our oceans.
The artist’s biomorphic coral-inspired art piece celebrates the complexity and diversity of our planet’s natural forms.
The Stacks
This minimalist Stack series explores imperfect and organic shapes interacting with one another. The pieces shift into a study of texture and form by stripping down the number of elements and colours. Before its final execution, the artist creates sketches and studies to achieve a good sense of equilibrium. Each Stack sculpture is uniquely hand-sculpted and constructed using geometric shapes in an almost dream-like balance. The artworks echo their summary of parts as a whole and the shapes used individually.
These sculptures are one-of-a-kind, with no reproduction or casts taken or made of this one-of-a-kind handmade piece.
The Klein Stack sculptures are some of Claire’s first pieces explicitly created as part of a collection of works incorporating colour and exploring the relationship between form and colour.
Claire specifically chose to explore the connotations of a Klein ultramarine shade of Blue for its visual impact and velvet-like texture in her Picasso Esq blue collection.
Blue has been an iconic colour in art history for its outstanding beauty, conveying meaning and feelings.
Blue is very rare in nature; only a limited amount of flora and fauna contain blue pigment.
Since our first interactions with the colour, its rarity and effect on the human psyche have been Idolised throughout art history, adorning some of the most iconic and coveted works of art, and our love of this colour goes back as early as Mayan temple mosaics and Egyptian tombs, to name a few.
Science has assisted in the development of colours, expanding upon the traditional creation methods culminating in this artwork’s super matte, high pigment paint.
These ‘Stack’ sculptures are vessels of colour and abstract minimalist pieces exploring gravity-defying harmonious compositions.
Using the surreal properties of Her signature medium, Claire has sculpted works around balance, not only of the gravitational kind, but also the visual weight of the piece, and crafting sculptures she felt aesthetically pleasing.
These new styles of structural, geometrical, and rectilinear works emerged from the artist during the pandemic. The artist felt it resonated with her need to express certainty in a time of uncertainty. They were using the properties of the medium for adhering to itself in a surreal way, gaining a sense of control over the balancing pieces, whilst exploring the unlimited potential combinations of each stack sculpture in a time when rules and restrictions felt very limiting.
She uses abstract geometric forms to contrast with her usual distinctive flowing organic, biomorphic works.
Claire sought to refine her new artworks in objective compositions of truth and certainty whilst still shrouded in abstraction.
Claire’s abstract works were not created as a direct deconstructed replica of any subject like cubism. Still, they possess anthropomorphic or common forms that allude to a face, an eye, or an orbiting celestial body or moon in the sky.
One such piece is Titled ‘Pareidolia’, after the phenomenon of seeing faces in things such as clouds as it is our social brains hardwiring to recognise friends and enemies.
Through having simplified abstract works and drawing upon simple forms that appear in all ancient cultures, from Ancient Aztec to Egyptian and stone age.
To the artist and the viewers, these works are connected to the original inspiration of our reality of nature and the sky and planets.
Claire created each piece to balance but not to be visually representative.
Each viewer may see something different like a knight with a spear, a man with a fishing rod or an evocative image of something primitive connecting them to temple carvings from a lost, forgotten civilisation.
Each simplified form, in combination with others and its angle of viewing, can evoke personal connections with the viewer through its simplified components made into a harmonious whole.
The Neuron sculptures and mixed media painting ‘Grey matter’ were inspired by the Hidden World of the Mind and Brain.
They incorporate personal interpretations and scientifically referenced imagery of Neurons and the Brains components in a tangle of Abstract fluidity.
Since the artist researched microscopic images of the brain from cutting-edge science journals, from brain slices at high magnification to MRI scans, Claire is always looking for new and exciting ways technology can reveal new ways to visualise the mind. But the limits of what we don’t yet know and cannot see about something so integral to whom we are always excited the artist.
This inspired Claire to research all images we currently had of the human brain at a factual level.
And combine these with my own interpreted forms for concepts of the mind.
The artist tried to give a comprehensive image of the brain and mind combined.
This piece features biomorphic simplifications of Neurons and working components inside our heads.
This print captures the detail and Dynamic brushstrokes of the original piece in the painted layers to give depth and complexity to reflect the mind as a veiled place of energy and growth.
It depicts the symphony of moving parts at an organic and cellular level.
The piece Grey Matter incorporates layers of white, black, and grey detail interwoven in a complex network, mimicking the complex and busy world in our heads that makes us who we are.
Biomorphic
The artist creates organic abstractions from this scientific information, from everyday Flora and fauna to the in-depth world and forms at the microscopic level to the massively macro repeating flowing patterns such as those in nature reveal themselves.
Claire’s Biomorphic Polymorph sculptures are personal interpretations of the curious natural forms in nature which she is constantly inspired by, ranging from marine corals, plants, the human body, and life at a cellular level.
The twisting forms are reminiscent of nature’s beautiful forms and the deadly. Looking closely at these structures reveals the grotesque surprise of deadly fungus spores, HIV cells and other highly infectious viral and parasitic-like forms.
The visual representations of things we would generally give a wide birth and intentionally avoid. However, this is contradicted by the curious-minded viewers drawn in by the intentional use of an interesting medium and the detailed and intrinsic construction of the sculptures.
The artist’s largest sculpture to date is a 9ft sculpture Titled Biomorphic Polymorph, which was Exhibited in the 2009 final year exhibition At Loughborough University.
This sculpture is predominantly comprised of her signature plastic medium, with a copper and mesh armature interior.
This intricate biomorphic sculpture is the artist’s interpretation of the myriad of exotic underwater floral forms, such as those found in coral reefs.
Coral reefs are among the most incredible natural wonders of the world’s oceans. They come in a seemingly infinite array of shapes and teem with life, but their fragility matches their beauty.
Through the artist’s signature medium (of which this art piece is solely crafted), the artist can create surreal forms expressing growth and motion, which best celebrate the fragile beauty of the ocean’s complex flora and fauna.
The sculpture ‘Beautiful but deadly’ was created for the ‘A Beautiful Death Exhibition’ at the View art Gallery in Bristol. It was a look at nature’s complexity and beauty and complexity.
The Hourglass is a long-standing symbol synonymous with time and death. These are essential factors when encountering many species of beautiful but highly deadly flora which adorn and entwine this sculpture’s glass time-regulating core.
This sculpture is a working hourglass containing white sand. The symmetry and aesthetics of this sculpture were considered when viewed from multiple orientations.
This sculpture contains many famously beautiful yet deadly flowers:
Oleander, Belladonna, Deadly Nightshade, Lilly of the valley, foxgloves, autumn crocus, poison oak, Angel’s trumpet, Daphne, and many more.
Marine
The marine coral-inspired works started with the sculpture “Anthozoa”, a reference to their underwater namesake.
These marine coral-inspired pieces were hand-crafted to explore forms that mimic textured coral structures in the sea.
The artist chose to keep these marine-inspired sculptures white (the colour of the medium’s natural colour) and not introduce vibrant colours like the reefs are famous for to confront the effects of coral bleaching. The phenomenon of why corals leach their colour through environmental factors such as global warming, which leads to the coral starving, and the rising sea temperatures eventually kills the coral.
This piece resonates with the fragility of these oceans’ floral lungs and marvels at their complex alien-like forms.
The artist finds endless inspiration from scientific discoveries in the depths of our oceans.
The artist’s biomorphic coral-inspired art piece celebrates the complexity and diversity of our planet’s natural forms.
The Stacks
This minimalist Stack series explores imperfect and organic shapes interacting with one another. The pieces shift into a study of texture and form by stripping down the number of elements and colours. Before its final execution, the artist creates sketches and studies to achieve a good sense of equilibrium. Each Stack sculpture is uniquely hand-sculpted and constructed using geometric shapes in an almost dream-like balance. The artworks echo their summary of parts as a whole and the shapes used individually.
These sculptures are one-of-a-kind, with no reproduction or casts taken or made of this one-of-a-kind handmade piece.
The Klein Stack sculptures are some of Claire’s first pieces explicitly created as part of a collection of works incorporating colour and exploring the relationship between form and colour.
Claire specifically chose to explore the connotations of a Klein ultramarine shade of Blue for its visual impact and velvet-like texture in her Picasso Esq blue collection.
Blue has been an iconic colour in art history for its outstanding beauty, conveying meaning and feelings.
Blue is very rare in nature; only a limited amount of flora and fauna contain blue pigment.
Since our first interactions with the colour, its rarity and effect on the human psyche have been Idolised throughout art history, adorning some of the most iconic and coveted works of art, and our love of this colour goes back as early as Mayan temple mosaics and Egyptian tombs, to name a few.
Science has assisted in the development of colours, expanding upon the traditional creation methods culminating in this artwork’s super matte, high pigment paint.
These ‘Stack’ sculptures are vessels of colour and abstract minimalist pieces exploring gravity-defying harmonious compositions.
Using the surreal properties of Her signature medium, Claire has sculpted works around balance, not only of the gravitational kind, but also the visual weight of the piece, and crafting sculptures she felt aesthetically pleasing.
These new styles of structural, geometrical, and rectilinear works emerged from the artist during the pandemic. The artist felt it resonated with her need to express certainty in a time of uncertainty. They were using the properties of the medium for adhering to itself in a surreal way, gaining a sense of control over the balancing pieces, whilst exploring the unlimited potential combinations of each stack sculpture in a time when rules and restrictions felt very limiting.
She uses abstract geometric forms to contrast with her usual distinctive flowing organic, biomorphic works.
Claire sought to refine her new artworks in objective compositions of truth and certainty whilst still shrouded in abstraction.
Claire’s abstract works were not created as a direct deconstructed replica of any subject like cubism. Still, they possess anthropomorphic or common forms that allude to a face, an eye, or an orbiting celestial body or moon in the sky.
One such piece is Titled ‘Pareidolia’, after the phenomenon of seeing faces in things such as clouds as it is our social brains hardwiring to recognise friends and enemies.
Through having simplified abstract works and drawing upon simple forms that appear in all ancient cultures, from Ancient Aztec to Egyptian and stone age.
To the artist and the viewers, these works are connected to the original inspiration of our reality of nature and the sky and planets.
Claire created each piece to balance but not to be visually representative.
Each viewer may see something different like a knight with a spear, a man with a fishing rod or an evocative image of something primitive connecting them to temple carvings from a lost, forgotten civilisation.
Each simplified form, in combination with others and its angle of viewing, can evoke personal connections with the viewer through its simplified components made into a harmonious whole.