Beyond simply being enjoyed for its taste, the lobster has long been on my wish list as a subject for a sculpture. I’ve always been fascinated by its structure, the armour-like shell, intricate joints, and almost prehistoric appearance make it an incredible form to explore in metal. With over 750 varieties worldwide, I decided to work in the style of the European lobster, as its shape felt both classic and instantly recognisable.

Rather than producing a life-size piece, I chose to scale it up and create a giant version. This gave me the freedom to really study and exaggerate the anatomy while still staying true to the natural proportions. One important feature I was keen to include was the imbalance of the claws, with one being noticeably larger than the other. In most lobsters around the world, one claw is a dominant “crusher” claw, and this detail felt essential to the authenticity of the piece.

The tail proved to be the most challenging part of the process and caused me some agonising design decisions. It went through several changes before I was finally satisfied. Getting the right balance between movement, structure, and visual flow took time, and each adjustment affected the overall composition of the sculpture.

My intention from the start was to create a bold piece of wall art that could be enjoyed in both a home and a restaurant or commercial setting — something striking, but still elegant. I began by putting pen to paper, sketching out the scale and proportions I wanted, and refining the design until it felt right.

I then decided to work with brushed stainless steel, a material I could hammer and shape by hand while still retaining an industrial, contemporary finish. I wanted to add strong texture to the piece, so I used MIG welding techniques to embellish the lobster with spiny features, building up layers and detail across the surface. I also worked over an anvil and even a tree trunk log to give the overall form a much more organic, tactile feel.

Although the sculpture is designed to be mounted on a wall, I still wanted the underside to be a true and realistic representation of a lobster. This included using recycled stainless steel exhaust baffles within the tail, adding both structural integrity and an unexpected layer of detail. Each section was individually formed, with hours of hammering and tapping to bring out the curves and textures of the shell.

After a week or two of steady work, the final crustacean emerged, a sculpture that combines organic form with industrial material, traditional metalworking with recycled elements, and one that has been on my creative wish list for a long time.