Introducing: Paul Appleby

Product designer or sculptor, fundamentally, they are very similar. My aims are unchanged, to make an emotional connection with an audience through the manipulation of form, surface and finish. The pursuit of this engagement involves the same process whether you conclude with a unique emotive sculpture, limited-edition Ferrari or a toothbrush with production runs in the tens of thousands.

The gift given with the title 'sculptor' rather than 'designer' is that of time. Not having the considerations of brand identity, marketing and engineering, component specifications, production schedules, offers so much space for new ideas to grow. This wider spectrum of ideas then assist exploration and understanding of one’s own motivations.

Intrigue and a hint of excitement are the essential elements of my starting a new piece and they can spring from anything. Often occurring from something half-seen. The glimpse or impression of an object in the corner of one’s vision that sparks an interest. On closer inspection the object transforms into the mundane and then the chase begins to recapture that intriguing image held in the mind. On other occasions it can be a phrase in literature, a surprising piece of science or a dance sequence - that sparks a seed of physical form. After care and nurture, it becomes fully developed and reflects the originally conceived or even new emotion.

I think others are in a better position to consider my influences. I wonder if I were confronted with them would they lose any power they may possess. Great creators and inspirations include; Calder – for the fun, Bridget Riley – for perception, Woolf – for magic, Melanie De Biasio - for the intoxication, Robert Irwin – for the almost unseen, Will Tuckett – for the dynamism, John Metcalf – for the journey, Richard Feynman – for the clarity, Donald Judd and Alison Wilding.

My studio has been described as messy, or very messy! I believe if I can clear a space to get to the monitor and keyboard, all is well. There is little structure to a studio day, it’s a constant flow between the creative stuff and the interruption of life essentials until the days groove is found. Always working on multiple ideas at varying stages, each sustaining the other in concept form until the detail is reached. "Success is 10% inspiration and 90% perspiration", Thomas Edison was so right. A few minutes slip into detail days, manipulating the reflection of light on the surface of a form until it sings. I never know if anyone else hears the same tune, but it must sound right to me.

The process is simple step by step and reiterative. Once a thought is captured, it is prodded and poked with a pencil and pushed into card or chunk of modelling foam. After securing space at the keyboard the dance between 3D cad surfaces and adding digital light to make them photo realistic begins.

At some point this dance slows and various types of 3D printing used to drag the surfaces into physical reality. The process swings back and forth until all questions are answered and the final statement confirmed. The digital data is then ready for its final transformation by machining, laser cutting or metal casting. This aesthetic question now has an answer, it may not be a perfect answer but now there are other new questions to move on to.

Of my current projects these spring to mind; 'VCT1 - Vanity of Captured Time' is inspired by a literary reference to time, memory and immortality. In complete contrast 'Ouch!' is an investigation into narrative through two forms. Each form independent of the other but defining time, movement and conclusion if viewed in sequence.

An interactive piece is 'CofG1', where the composition of two elements highlight two materials, two masses and one point of balance. Balance being invisible until interaction occurs. 'CofF1 - Component of Flight', simply celebrates transient fragility and disproportionate strength. Similarly, and yet so different, 'L+L1' focuses on the potential transcendent power of the familiar through light and shade.