These creatures are made using wire armatures, hand-sculpted feet and faces, hand-dyed faux fur, and hand-painted glass eyes. I have been making and selling these creatures since high school (2014). They range in size from 8cm to 1m tall.
The art of collecting, cleaning, and reassembling skeletons into fantasy creatures. They are made from humanely sourced mice and rat bones, guinea fowl feathers, and sculpted bases. I learnt the fundamentals of skeletal articulation under the instruction of Gerard Geer.
My skills in knifemaking are rudimentary. Under the mentorship of a local manual arts teacher, I was able to improve my understanding of metalwork, woodwork, and competency with various power tools and machinery.
In 2017, I studied prosthetic makeup at the Australian Institute of Creative Design. I have since competed internationally, and worked on a variety of small productions wherein I designed, sculpted, moulded, ran, and applied prosthetics.
Costumery and Props
As a part of my prosthetic makeup shoots and various short films, I would often end up making costume pieces for my characters, including a articulated, blinking dragon suit, a dress made of sea litter, and a bone crown consisting of over 300 individually sculpted bones.
I've created a number of rudimentary puppets with basic jaw and eyes movement, and my creatures have been used for skins of animatronic mechanisms (details confidential at this time). I attended a puppetry workshop with the Dead Puppet Society in 2019.
Most of my creations require a degree of sculpting. I have experience with a variety of sculpting mediums including monster clay, WED clay, polymer clay, and paperclay, as well as some experience in casting and moulding.
My woodworking experience is largely linked to the knifemaking project and shelving for conventions, which has given me a rudimentary understanding of tools such as drills, belt sanders, band saws, drop saws, jig saws, and various measuring equipment.