Working process

I usually start with general research or have already seen something interesting that I want to emulate or apply. Usually, I get my ideas from almost any source, for example, architecture, cartography, films, Pinterest and my primary interests, as it allows me to find an astonishing amount of amateur works and astounding art/ideas from various hobbies or small-time artists. This tends to be incredibly useful if you need to get into the flow of things again. I usually lack a set plan; thus, I typically let my materials inspire me, so I find a material or style and try to expand on it, as with the cork sea stacks, as seen below.

These are the earliest stages of one of my final pieces, during which I was figuring out shape, layout, and materials.
After solidifying the overall look, I moved on to the paint scheme and 3D models to add small-scale detail, then prepared it for the resin I intended to use.
After the small details were painted and assembled, I concluded it was too plain and empty, so I found some 3D models of shipwrecks to fill the sea floor and prepare for the centrepiece, a giant Kraken, to show why the vessels had sunk.
After finishing the final touches to the paintwork of the Kraken and sealing the edges for the resin pour, initially, there were no signs there would be any problems. Still, as the drying process went on, the air began to leak heavily, disturbing the surface of the resin and leading to many imperfections that nearly ruined the piece.
This is undoubtedly the most significant project I have attempted. Being one meter in diameter and half a meter in height, it started as my most extensive scale attempt to practice for small and medium-sized dioramas, eventually becoming a lunar landscape.
While at Kingston University for a foundation prep course, we were given limited time to construct models based on a prompt we put together in each session: these examples show a printer, storage, and stilts.
The work shown above is a small-scale preview of one of my final projects, which combines wire armatures with landscape and motion to tell a story.
These few photos show the construction of one of my earliest large-scale 3D works, a bench I designed on paper, transferred to a 3D modelling program, constructed from timber, and then painted and oiled to represent older wood and aged copper.
Using some artistic license, I used a combination of watercolour and biro to create landscapes based on authentic images I had found in old photos from our holiday trips or the internet.
This shows how I make poses through drawings and modelling with wire armature figures.
This is the evolution of my final project. I was under exam conditions, so I don’t have many images, though this is precisely the wiring for the lighting and the 3D models I used.
Newspaper prompts require limited words and time to convey a meaning. We were asked to get a simple meaning across rapidly. I like Beat Winter the most; simplicity is key.
Before moving on to other materials, my various material and landscape experiments were used as test beds, and I learned many flaws from them, like weight and stability.
Quick ink paintings were done within 20 seconds from prompts, such as drawing the person across from you or using negative space to show form; these paintings involve various poses and limbs.