This was more of a formal and visual exploration. I began by making the sculptures, distancing myself from an attempt to render a figuratively accurate depiction of what a face is. Instead I formed these with the thought of sculpting a painting. Going from a flat representation to one that is three-dimensional.
I then reversed that process but going back into a flat form of expression, on a sheet of bristol. I found that both these methods were nourishing and informing one another, restoring the preconceived notions of what one might have of either to ultimately feed into the possibilities that lie in their production. It is the idea that one does not necessarily need to precede the other, but that they exist and function in tandem.
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