Yasmin Watts works through a combination of hand and digital processes, moving between drawing, modelling, scanning, printing, construction and surface. The process is exploratory and iterative, allowing the work to develop through making rather than from a fixed idea.

I build rhythm. I look for stillness in repetition.

The human figure begins through drawing and hand modelling, where gesture, weight and balance are explored through the body. Forms are then developed through 3D scanning and printing, creating another stage of transformation between the physical and the digital.

The printed form is never the finished object. It is returned to the hand through sanding, joining, cutting and painting. Surface becomes a record of this process, carrying marks of alteration and the evidence of touch.

I sculpt with time and tension.
Each mark remembers something the body knew before language.

Alongside the figure, Watts constructs the spaces that contain and surround it. Reclaimed wood, acrylic, cardboard and other materials are cut, assembled and transformed into enclosures, openings and surfaces. The relationship between figure and space develops together, with neither existing simply as a backdrop to the other.

Materials carry traces of their previous lives. Scratches, marks, joins and imperfections are not necessarily concealed but become part of the work. Reclaimed materials bring histories into the process, while making leaves new traces of its own.

Material has weight. It has temperature. It tells the truth.

Light is considered as part of the sculptural experience rather than simply as illumination. It passes through openings and translucent surfaces, revealing and concealing, changing the relationship between figure and space as the work is encountered from different positions.

The process is one of attention and adjustment. Watts observes how a figure sits within a space, how a surface receives light, how a material responds to touch and how small changes can alter the whole. Decisions emerge through looking, making and returning to the work.

I don't begin with answers.
I build to ask.
I layer until something begins to breathe.

Her methodology brings together the physical and the digital, intuition and experimentation, repetition and change. Through this process, material becomes a way of thinking and making becomes a way of discovering.

I don't explain. I shape. I listen. I remember.