STW Conversations: Jamie Rochford

Today we had a chat with Jamie Rochford, a passionate sculptor. Jamie’s captivating work centers around the art of creature design, drawing inspiration from the human body itself as a reference and starting point for his extraordinary creations.

When did you first become interested in 3D sculpting and what inspired you? Could you tell us a bit about your background?

“During my foundation year at college when I was 19, I discovered my passion for sculpting. Although I had primarily focused on drawing until then, I found working with clay addictive and engaging. The ability of an object to convey different stories from different angles fascinated me, and I developed a natural inclination for the sculpting process. Spending 40–50 hours on a clay piece without ever feeling tired or wanting it to end made it feel more like a passion than work.”

Where do you find inspiration for your work, and what concept drives your creations?

“Much of my recent work revolves around sculpting for film and television, usually based on specific briefs. In my personal projects, I enjoy exploring human anatomy and drawing inspiration from body horror themes found in movies like The Thing (1982) and video games like Dead Space. The common thread in my work is creature design, where I use the human body as a starting point. I’m fascinated by the horror of encountering contorted and sinister versions of oneself.”

Do you follow a specific routine in your creative process?

“When working on digital pieces, I typically start with a human body, sculpting symmetrically and defining key anatomical points. I then experiment with different ideas in the software. For compositions and visual intrigue, I often do a lot of drawing. When working with clay, which is usually for professional projects, I start with a block-out and refine the forms until I achieve a highly detailed and resolved piece.
The pace of sculpting for work is quite different from personal projects, as you often reach resolutions quickly, and over time, you develop the ability to create intricate pieces within short timeframes.”

How do you incorporate 3D scans and prints as a reference in your work?

“I believe it’s best to develop ideas through active creation. Inspiration isn’t purely a thought process but emerges naturally as you sketch or sculpt basic ideas. I frequently use 3D prints as references in my work. I’ve printed full-size skulls and a human ecorche, which I refer to while sculpting. In film projects, I use 3D prints as maquettes for larger pieces. The speed and convenience of working with digital models in comparison to real-life objects allow for rapid progress at this stage. Having 3D objects as references, rather than just images, is incredibly valuable.”

What materials do you primarily use, and how do you choose them?

“Currently, I mainly use Monster Clay for traditional sculpting outside of digital sculpting. Monster Clay is an oil/wax modeling clay that offers exceptional fine detail capabilities. It can be melted down and reused multiple times. I find it unparalleled for creating realistic skin or creature textures. However, using Monster Clay requires skill with sculpting tools rather than relying heavily on manual thumb sculpting. Before using Monster Clay, I worked with wet clay during my time at university or for portrait sculpting. Different mediums have their own advantages.”

Which artwork are you most attached to?

“The first is a ZBrush sculpt I completed over a weekend with other digital sculptors from Instagram. It was a collaborative project based on a concept by Maxim Verehin, featuring a witch’s arm. I feel a fondness for this piece because working alongside other sculptors created a strong sense of community.

The second piece is my first large-scale costume sculpt for a film called “Walking Against the Rain.” It represents the creature design for the movie. I particularly cherish this piece because it marks my entry into professional work on a larger scale.”

What’s your favourite artefact we digitised?

“My favourite artefact of yours that I’ve printed is Ugolino and his sons, I think it’s the details on this classical piece that really draw me in and the anatomical representations of the starving body, the back of the main figure carries such realism of gravity as the skin feels thin across the skeleton, such a useful piece to be able to study.”

How do you see the digitisation of cultural heritage is important for you as a contemporary sculptor?

“I think ultimately for me it’s the access, you have such freedom to study these pieces. The ability to be able to interact with these classical works is so valuable for an artist.”

Your goals as an artist in the near future?

“I think going forward I’d like to continue in film special effects and keep building my sculptural portfolio that way. I am also keen to gain a stronger personal practice. Since I’m mostly using ZBrush for my personal works I’d like to branch back out and use clay again, I’d be interested in making silicone masks of people and creatures. I think in a general sense I just want to keep expanding my skills and become a better artist.”