Maud is a study in presence, capturing the quiet weight and individuality of the animal form. Working in clay allows the character to emerge through observation rather than idealization. The form is not overly refined, it holds onto the immediacy of the process, where small shifts in gesture and posture begin to define personality. There is a sense of familiarity in the stance, something both grounded and attentive. The surface remains active, carrying the marks of making. I