Claire’s works are an exploration in texture and material, particularly the boundaries between the surfaces.

As with all of Claire Burke's work the process and its visibility through the layers of applied material comprise

a large part of the content.

 

Her simple individual panels combine to form an aesthetic dialogue that refers to both natural and manmade surfaces.

 

The works have a deceptively simple appearance, they have been described as 'elegant' and 'beautiful', yet they still

retain a subtlety and discretion that has always been fundamental to Claire's work.

 

Claire’s meditative panels are constructed using modifications on traditional gilding techniques, giving the work a timeless, subtle beauty.

 

She uses 23ct gold leaf, gold alloys and silver leaf on bespoke panels.

 

The juxtaposition of two fine surfaces and the subtle differences between them create a discreet tension and a delicate,

enthralling presence.

 

Claire sources bespoke HDF panels form Alan Fitzpatrick, they are made to an extremely high standard to her

exact specifications.

 

The work begins with a layer of Bole, his is a clay based product traditionally used under gilding to provide a

tint to the extremely thin silver leaf, once the Bole has been applied and has dried gilding can begin.

 

A traditional oil based gold size is applied to the surface of the panel, once the size has been left for the appropriate

amount of time the leaf is applied. Depending on the amount of drying time allowed the leaf adheres to the surface in

different ways.

 

Claire may then either tint the leaf with an oil glaze, apply a layer of cracking products, or a layer of gilding wax.

 

The process continues with the addition of an overlapping neibouring surface of leaf treated in much the same way.

 

The work progresses with further layers, and even possibly the removal of a layer of leaf or the partial occlusion

of a layer by another.

 

Once the piece is nearing its completion a layer of varnish is applied to protect the surface, the varnish also adds

some warmth and colour to the resulting piece. The final step may be to emphasize the surface texture with more

gilding wax used as a surface polish.

 

The pieces are process led in that the artist has to react to the preceding surface and make decisions on any

changes or developments based on what has occurred before hand. This makes the pieces absolutely unique and

unpredictable to an extent. Control over the works is mainly derived from choices about whether or not to retain

or delete surfaces or textures rather than deliberately pre planning the work.