Walpole: How did you come to work in the world of paper sculpture?
Helen Musselwhite: My first foray into the world of paper sculpture was around 20 years ago when I was tasked to produce a Christmas window display for a jewellery shop on a small budget using easily procured materials. The outcome was an angel made from white and tracing paper. It would be true to say I had an epiphany right there and its been paper all the way since then!
Where is your studio – and why did you choose that location?
I work from a studio in my house on the southernmost edge of Greater Manchester. I’ve got one foot in the Cheshire countryside (the countryside has and continues to be my number one inspiration) and the other in the culture of the North-West cities.
What is your process for making your wonderful pieces?
My process is very analogue and time consuming. It starts with sketches and paper selection. Before construction starts, I trace all the components onto the papers followed by cutting them out with a scalpel. This part takes the most time. Sometimes it’s almost a meditation to get lost in – though not always, especially if I have a deadline!
After gluing all the components together the work is either photographed and delivered to the client digitally or its framed or in this case placed in a glass dome and away it goes into the world.
What’s the most exciting project you’ve worked on and why was it so fulfilling as an artist?
I’ve been lucky enough to work on lots of wonderful projects over the past 20 years but one of the most exciting has to be 2016’s Christmas stamps for the Royal Mail. That was a bucket list project, for sure.
What inspired you to create this year’s Walpole British Luxury Awards trophy in the way that you did?
I’ve long been a fan of Cole & Son's wallpaper. I admire the company's craftsmanship and appreciate their process. I’d have to say their Woods wallpaper was a big influence on my work in the early days, so it was a pleasure to adapt their cover illustration into a little 3D scene. I think I'd like to live in the folly on the rocks!
It looks like incredibly intricate work...
Yes, across the awards there are 130 roses and 52 tiny birds, all cut by hand. I'll probably use around 50 scalpel blades and listen to four audio books!
What was the most challenging section of this year’s trophy to craft?
The most challenging part of the award was sourcing the papers from a colour and tone perspective. The construction of the tree canopy was also a challenge, it needed to be light and airy but its also a part of the stability of the round design so I had to get a balance between the two.
Find out more about Helen Musselwhite's work at helenmusselwhite.com
