How does your work fit with the theme of ‘Into the Wilde’?
My pieces do obviously allude to demons and basic animal nature and these are what seem to bind the show together. The aesthetic of my work can certainly find its historical home within the ornate decadence of the grander Victorian home; animal forms reminiscent of hunting trophies. All my current work has some degree of corrupted form about it. The animal forms contain no visible eyes, the window to the soul, yet still remain somewhat lifelike. With Stray the skull is impaled on the shaft of the stand but bites down against this aggressive act. The flesh of the skull and the wooden stand are replaced and adorned with the rich red flock. This act of demise and retribution crystallized and made tactile yet still with a threat just below its lustrous surface.

Your work often makes use of shamanic animal forms and neon to hint at portals to other worlds. Does your work stem from subconscious responses?
My work responds to interests I have with animal myths and legends. For instance Demonic dogs and Hellhounds known as Black Shuck and Cerberus have made appearances in my research and work. I find these legends and the stories around them quite seductive, these demons and forms never seem to leave our different cultures.

The light in my work plays the role of the boundary or the messages from the spirit worlds these creatures inhabit. My piece Wraith, and one of my pieces in the Catlin Prize, Phantom are carriers of messages. The light emerged from their mouths as an inaudible message, something seen but never meant to be understood, a language we cannot engage with.

How much does a sense of aestheticism or beauty inform your work?
Many of my sculptures require a lot of work to achieve the finish I desire. I like my animal forms to behave as if they were shadows, creatures emerging in the periphery of your vision. That is why I made the choice that these forms are painted a smooth black gloss. With this surface the light used with the forms is reflected highlighting specific curves, hollowed eyes or mouths. I don’t necessarily set out to make beautiful pieces of work, I formulate the idea in my sketchbook and I just have to make it. From the point of an idea’s inception it becomes a compulsion, I can get quite obsessive in pursuit of a concluded sculpture.

Do you enjoy group shows? How does the other work sit with your own?
 I really enjoy group shows, it gives me a chance to see how my work sits alongside other work and I always meet some really interesting Artists. I think a group show always gives me a chance to evaluate how I’m getting on and the input of others Artists in these scenarios is priceless, you can’t work for too long in your own bubble. I feel lucky to have been placed with these other artists as all their work seems very strong. Although I have yet to meet them I am familiar with the work of Arran Gregory and Abigail Box. It’s exciting to show alongside them as I feel my work has something in common with them, even if it’s just a question of the use of animal form.

As a curator yourself how has coming to a show with such a strong theme affected your choice of work to display?
The choice of work to display came down to equal considerations involving the space and the theme. The work I have submitted can certainly be considered the closest to the theme however I had some other pieces in mind too. It was great to do a site visit and discuss the choices that I and the curator had made about the work. As an Artist I think that relationship with any curator is immediately important, it’s good to get off to a trusting start. I feel that Stray, one of my chosen pieces (which has been used for the shows invitation) is strongly tied to the theme and should hopefully garner a positive response.

How have you found graduating?
Leaving college was never going to be easy as you lose your peer group, workshops, studio and tutors in one go. However I have kept close contact with many members of my graduating year and made both good friends and contacts with other emerging Artists from other colleges in the UAL. My selection as a finalist in the Catlin Prize was incredible and gave me a confidence boost and something to work towards, as did my sales and commissions. Acquiring my studio has been one of the greatest benefits to my work as it has allowed me to keep making and organise the development of my practice professionally.

Can you let us in on what you have planned for the future?
After the Catlin Prize (or rather during) a group of us have a show opening  on Wednesday 19th  May entitled 100% Gold Standard WHEY which runs until Sunday 23rd May. I have a commission for a private collector to fulfil and Robert Devereux who purchased two of my works late last year has invited me to install them at his residence in Scotland. I also have a solo show to work towards in November and our group ASKEW is currently negotiating a space to hold our next event in. There are a number of other shows currently being discussed and in all honesty I think my year ahead is going to be very busy but exciting.

See more of David's work in his jotta portfolio