What is your professional background and how long have you been creating tiny sculptures?

I left school at sixteen and I started a specialised career in engineering with the MoD. I was trained to work on complex miniature devices as an instrument mechanic at 18 Base Workshops, Bovington. Many of the things I learned and trained on I’m still not allowed to talk about! Then I worked in the aircraft industry as an avionics technician, eventually working on the Eurofighter. I became a professional micro artist in February 2021. I made my first tiny sculpture in 2018 when I was around 50 years old.     

What drew you to crafting micro sculptures over other forms of art? 

I discovered the challenges of creating microscopic paintings and sculptures. 

I was first inspired by watching a TV program about Willard Wigan and the challenges he faced, that changed my life! Having been trained to work on small complex devices I had developed steady hands and a good deal of patience. I knew then that I had to test my skills and challenge myself to create smaller and smaller things and eventually more complex creations than anyone else. I spent years discovering just how difficult micro art is to do! After what feels like a lifetime of experimenting, I have managed to fit my work proudly into the eye of a needle and then I never looked back!

How do you prepare before embarking on a new sculpture? Is there a lot of research? 

To start with I tidy my workspace removing as much dust as possible and then I remake all of my micro size tools because they are constantly breaking as they are so delicate. I search the internet for images of my chosen subject and read as much as I can to get into the unique mindset of a micro artist. 

What materials and specialist tools do you use to create your sculptures? 

I use a variety of materials from micro sized pigments, dust, minerals, Kevlar strands, carbon, carpet fibres, pieces of ceramic, precious metals such as gold, platinum, gem stones such as diamonds, emeralds.

I also use things from nature, hairs from a dragonfly’s leg, the antenna from a stag beetle and pollen grains as thickeners and the white pappus on dandelion seeds for paint brushes. 

I use my own special micro precision tools and techniques that I’ve been crafting over the years. I mount microblading needles onto the ends of instrument screwdrivers. Then with around sixty of the hand tools I mount microscopic attachments to the tip of the microblading needles. The tools are made from silicon carbide also known as carborundum which is only second in hardness to diamond.

These tools I use for cutting, carving, gouging and shaping. Other tools have ultra fine hairs for painting, holding and manipulating the art. With a huge variety of attachments from drills, saws, forks, tweezers to paint brushes and lifting and holding tools I have a micro toolbox at my disposal. Unfortunately because of the nature of these delicate tools they are constantly breaking and I’m forced to stop what I’m doing and remake them.

What is the longest time you’ve spent making one of your artworks?

Arguably one of the world’s most famous paintings - Rembrandt’s 1642 The Night Watch, has been recreated in every detail with the full 34 characters, in a painting smaller than the head of a match! No one has done anything like this before! The microscopic painting has then been carefully mounted onto the centre of Captain Frans Banning hat, in Chris Long’s unique pixelated version of the same painting! This took me six months to do!

Do you feel extra pressure when recreating other artists’ famous pieces? 

I have to enter an almost emotionless trance which enables me to remain calm even if I’m facing a disaster or painting the smile on Mona Lisa’s face. If I am making a sculpture or a famous painting I like to become the artist and try to get into their way of thinking and use my tools in the same way.   

What are some of the biggest challenges that this style of sculpture presents over larger pieces? 

Everything connected with making microscopic artworks is hard and complex. It is a real challenge to control my hands and my breathing, let alone create something almost literally out of nothing. I must slow my breathing down to steady my hands. I keep my heart rate as low as possible as a single twitch from my fingers can wreck months of work. There is a danger that static electricity can unexpectedly snap the art away as if by magic. I can accidentally blow it away, with a sneeze or a cough. Even a breath of wind from an open window can make it fly away and disappear forever. Once a piece is lost, you can spend hours hunting around for it with a magnifying glass in your hand and still never find it!

Did the red LEGO brick present additional difficulties because of its even smaller proportions?

The Lego bricks are so tiny it's beyond the powers of the human eye to detect and almost beyond the powers of the human brain to comprehend! I am working on the outer limits of what is humanly possible using skill and concentration! 

Which piece are you the most proud of?

I don't have a favourite, It's like asking which of your children do you like the most! I love them all. Each one is done to the best of my ability at the time, my ability has significantly improved each time I sit down at the microscope. 

What characteristics do you think are essential to be a micro sculptor?

Lots of things need to come together to create micro art. The correct microscope with great optics. The correct microscopic tools. The numerous techniques and the ability to select the appropriate materials and paints. The human factor such as patience, artistic skill, the ability to control every nerve and micro tremor including slowing my down heart rate and still being able to work!   

When creating sculptures of living things like animals, how do you go about bringing them to life?

I research each animal in great detail and study how it lives and the problems if faces in this human dominated world. I create several prototypes before I start the final design and I surround myself with numerous photographs. 

Which is the most difficult animal you have created to date? 

The most difficult animal was the 'Bengal Tiger,' as he is so detailed and I worked so hard to create an exciting pose. He is jumping after his prey with claws outstretched! 

What inspired you to create the “Smallest Zoo” exhibition?

I love animals and I wanted to show people what I can do and inspire the younger generation to study and care for the creatures that share this small blue planet. 

How does it feel to see visitors interacting with your artworks such as those in the “Smallest Zoo”?

I get a huge sense of achievement having created something so special despite the many challenges working under a microscope. I am always looking to improve and I'm always looking to see just how small I can go! What keeps me going through the long hours is seeing the look of wonder and astonishment on people’s faces, especially when they see my art in person for the first time.

Any other animals on your list still to make?

I have so many animals that I'd like to do, my problem is finding the time as each microsculpture can take months of work! 

Is there any animal you wouldn’t take on?

No, I learn so much with each creation with the study of its anatomy, the structure of the body and the creatures life style. I feel privileged to get to know each animal in such depth. I have found there is nothing I cannot do!

How did the idea for creating Van Gogh masterpieces inside the watch come about?

We are always looking to find new and exciting ways to display my art. From branded exhibition stands, glass and metal bespoke displays to narrow necked coloured glass bottles. Including art placed inside authentic Snoopy moneyboxes. I use my engineering background to design and create the most appropriate displays which usually incorporate specialised lighting, complete with magnification instruments. Edward and I wanted to create wearable art that combines the intricacies of a watch with my detailed microscopic paintings. Highlighting the Vincent van Gogh museum's 50th anniversary.

Did you approach Vincent van Gogh Museum or did they approach you?

We approached the Vincent van Gogh Museum and found them to be encouraging and supportive of my Vincent creations and loved the idea of my work celebrating the museum's 50th anniversary. 

How did you choose these particular 3 works and this particular watch?

I have recreated Vincent's work before to world acclaim and these are my personal favourites. I never get bored with art and I find myself drawn to Vincent's work like a bee to one of his sunflowers!

Do you try to get in the mind of Van Gogh?

Over the years I feel I have developed an intimate connection with Vincent. I have to master my emotions and harness them to express in colour what was on his mind when he created his wonderful paintings. From each brush stroke and daube of colour; to honoring the creativity and expressionism of his works. When I look at a Vincent, I feel I'm looking beyond the paint and into his mind. 

Can you describe your fascination with this unusual genre of art making?

I strive to create what I consider to be great art. The same way any artist does who wants to succeed and make the world take notice. However my creations are also microscopic in size, so I use my skills and ingenuity to overcome these monumental challenges.

How do you characterize what you do?

I love the fact I have been blessed with a unique ability. I create first in my mind, then with my heart. Through my hands each crafted piece has been developed to capture my artistic vision. The creative artistry, ingenuity, design, everything, even the engineering of the displays. Together with advice and support from my friend Edward Hammond and the team at Hammond Galleries, I have been given the opportunity to stand alone in my field. To be blunt I do the lot and have not found anything I can't do! 

Is there art historical precendent?

Humans have always been fascinated with size! With each generation artists have pushed the boundaries of what is possible. For me the fundamental truth is that the art must be hand made for it to be appreciated. My art should have the same artistic worth whether it is full size or microscopic. 

Can you give me a sense of what the process is like?

Time has no measure. When I sit down at the microscope I must have prepared for the rigors to come. Eating the right food, having a well maintained body and a clear focused mind. I control my movements with the precision of a brain surgeon. The mind switches to a heightened level of concentration, more than most people are capable of. I work closely with the microscope, treating it as an extension of my body!

How long does it typically take?

Each piece is different, The more layers of complication needed to created the intricate detail and microstructures can take many months. 

What are the unique perils involved?

The plethora of physical and mental challenges are a constant companion when working at a microscope. Firstly I need to judge the position of my micro tools relative to the art, so I don't crash into months of work or flick it away into the unknown oblivion. Manipulation of the material is key because the laws of physics appear to change under high magnification. A shiny smooth gold ring under a microscope can have the colour and texture of chopped wood. Hard impervious surfaces can on closer inspection be soft and moist like a peach. The invisible forces of static electricity can sweep away my creations like a strong magnet suddenly being switched on and snapping away work with a click of a finger. A cough or sneeze can have a similar effect to blowing the art out from under the microscope but inhaling a piece of art and having it lodged in your nose is another challenge altogether. 

Have you done something similar with other Old Masters?

The watch is the first wearable art gallery that I have created with Edward but I have utilised a Snoopy money box for the four Snoopy’s and a miniature Gin Ting bottle inside a glass Gin Ting bottle. I have progressively upgraded the sophistication of the art dispays from perspex domes to glass with bespoke metal bases, laser cut illuminations and artistic programmable lights with a dedicated miniature light for the art. Other watches in the series will be available and hand delivered anywhere in the world, with artists such as Picasso, Dali and Banksy, installed inside for example. 

What about contemporary artists?

One of my largest commissions to date was for a private client. His brief was to reproduce the three Banksy paintings hung on his wall. These were to be reproduced in minature and installed in a single glass dome with a matching gold base to match the frames on the original limited edition prints. The Banksy will be revealed in early September 2023 to world acclaim.

It’s interesting to me that both art and watches are highly collectible. Who do you think the ideal buyer is?

The watch will be sold to someone who appreciates the finest most exquisite watches, the greatest miniature art in the world and appreciates this truly unique once in a lifetime unmissable investment.

Has there any serious interest so far?

Buyers are lining up to express their interest by emailing Edward Hammond at info@hammondgalleries.com where you will have the opportunity to view, buy and reserve future watches with your chosen art meticulously reproduced by the renowned David A Lindon 

Additional information.

I have created 24 new pieces of art which will be available to view on the world tour. The Smallest Zoo in the World, see photos at the end of the David A Lindon Art link. We are looking for venues in Las Vegas, New York and all large cities around the world. Apply to Edward Hammond at info@hammondgalleries.com

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What materials do you use? 

I use a multitude of different materials from porcelain, nylon, carbon fibre, precious metals and crushed micro pigments.

What materials did you use to create your own specialized tools?

I started with dental tools and surgical implements but found them to be cumbersome and too big. One very useful tool I made was a filed down a hypodermic needle with a fragment of diamond on the tip to use as a blade. Each artwork requires me to make specific tools for individual jobs. 

Most of my tools break while creating the micro sculptures and have to be remade several times. For painting I have used hairs from various animals and fibers from silk worms.

I'm looking to push the boundaries further and beyond what is currently known in the world of micro art and have created a number of World First exclusive sculptures and paintings.

What kind of paint did you use for the three Van Goghs (or what substituted for paint), and what did you use for a canvas?

 The frames are made from 24 carat gold and the paintings contain micro pigments from fine white porcelain to extremely rare black moissanite. The canvas and other specific materials are a closely guarded secret.

Were you commissioned to do the Van Gogh watch? 

This was a collaboration between myself and Edward Hammond my manager, founder of Hammond Galleries. We wanted to answer the question of ‘ Was it possible to create the world’s first portable art gallery’

The first of its kind in the world, we managed to have each of the micro paintings balanced on the three arms of the tourbillon, ensuring that the artwork travels round the tourbillon as the time ticks by. 

The Van Gogh Trilogy masterpiece watch is available to purchase through Hammond Galleries.com and will be hand delivered to the lucky owner anywhere in the world to ensure a safe arrival.

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