Bridget Heriz has produced her beautifully modelled figurative sculpture from her studio in Great Yarmouth for the last two decades.

In recent years Bridget Heriz has reviewed the influences and techniques of her formative years to create work that defines volume and structure with the immediacy of drawing. Bridget has fashioned her lyrical constructions using wire and card and balsa wood. These seemingly simple materials are used to circumscribe a complex set of spatial relationships that outline negative space as well as describing aspects of the human form.

She has also worked historically in more traditional materials like terracotta and cast bronze. To add another layer of complexity to her production process, she selects some of her balsa wood figures for casting in bronze, exchanging the light of touch fragility of balsa for a more permanent form of fabrication. It is perhaps her confidence in using so many different materials to produce her work that sets it free of them. In a final switch, to keep us on our toes, Bridget frequently disguises the pale tones of a Balsa wood surface with metallic paint, adding a convincing patina to figures as their delicately crafted plains glint in the light.

More recently I have completed a public commission in an intimate size using modelling clay and then scaled-up and produced full-scale using 3D printing. Although the maquettes were modelled in clay, the template figure was modelled in plaster on a wire frame.

Originally born in Hamburg Germany to two artists, her family moved to Suffolk when she was a child. Bridget Heriz trained at Goldsmiths College and Ravensbourne College of Art and Design between 1973 and 1977, after which she returned to Suffolk to work at Clock House Fine Art Studios. She moved to Great Yarmouth in 2002.

Bridget has work in the Women’s Art Collection at Newhall College, Cambridge University, Ipswich Borough Collection, Great Yarmouth Museums and the Targetfollow Collection, Norwich.

She has exhibited widely in both solo and group shows including at Chappel Galleries, Essex; VI International Exhibition, St Petersburg; Romance, Kowalsky Gallery, London; The Cut, Halesworth; Greyfriars Art Centre, Kings Lynn; Mandells Gallery, Norwich and Wymondham Arts Centre. The illustrator of 'Kids' Pranks and Capers' by Frank Reed and played an instrumental part in the initiating and contributing to this exhibition (along with the later Ivor Roberts-Jones Retrospective at Christchurch Mansion Ipswich) in 'Jane Truzzi-Franconi (1955-93): Retrospective'.