Carolyn’s practice merges traditional craftsmanship with technology to create abstract, biomorphic forms. Using tools such as three dimensional design software and printing, and a seven axis robot, she explores complex geometries that were once almost inconceivable to realize. While technology plays a central role, all of her work is ultimately hand finished, blending precision with the meditative intimacy of traditional techniques.

This approach was named Digital Stone by her mentor Jon Isherwood. Carolyn follows the legacy of Isherwood, Tony Cragg, and Helaine Blumenfeld OBE. She admires the work of Jean Arp and Henry Moore, whose explorations of organic abstraction resonate with her vision. Isherwood, notably, was left with a lasting impression from Moore, inspiring a lineage of artistry and innovation that informs her practice.

Her sculpture also draws inspiration from Gogottes, natural formations of calcium carbonate and quartz found in Fontainebleau, France, dating back 5,000 – 8,000 years. These forms, seemingly alive and in motion, embody the illusion of vitality within stillness, a dynamic tension she aims to capture in her work.

Over the past decade, Carolyn has developed an intuitive digital sculpting workflow through extensive research and experimentation. Surprisingly, designing in computer aided design is as time intensive as sculpting in traditional materials, requiring thousands of iterative decisions. Like direct stone carving, the process demands critical choices to refine the form.

The ability to conceive the sculpture in its entirety before any material is touched eliminates waste, and enables the use of previously discarded or irregular stone blocks. This process allows for a deep connection between concept, material, and craftsmanship. The hand finishing stage becomes a meditative act, imbuing the work with a sense of wonder and discovery she hopes is reflected in the final piece.