I don’t normally make multiples of my work – the nature of the materials doesn’t lend itself to this – but the invitation in the brief to produce them intrigued me. I decided to see how far it was possible to make multiples to enable someone to feel a sense of ownership, and a connection with my installation, while I still remained true to my materials and their unique qualities – and the essence of the installation itself.

I used porcelain to make a mold, rolling it paper-thin on site, to press into the wall to pick up an impression. Fired, this became the base for the multiples.

I’m pleased with the results; although they have all come from the same base, the hand application of the latex layers and the differing reactions to oxidation makes each piece unique.

They are pinned and framed as one would rare and fragile specimens that need to be valued.