These sculptures grew organically from a drawing practice occupied with process-based graphite drawings that allowed forms to emerge through layering, erasing and reworking, I set myself the task of giving one of these images a body. The front view of each sculpture aligns with the drawing, but everything beyond that single viewpoint had to be invented. Each piece became a quiet negotiation in the studio, asking what happens when a drawn form suddenly needs a back, a side and a sense of volume. That improvisation, and the slight awkwardness of translating something imagined into something spatial, became central to the work.

The series is called hoi polloi, a loose nod to the idea of the many, because each form continually generates new versions. Once an original shape exists, I cast it and remake it in different materials such as plaster, silver leaf, ink stained plaster or bronze. They behave like small exercises in form, or even exercises in style in the spirit of Raymond Queneau, with each form revealing a different temperament or attitude within the same structure. When shown with the related drawings and wall works, these sculptures take their place within a broader ecosystem where forms echo, drift and shift between two and three dimensions, testing out what they might become next.