THE PROCESS
Pieces of timber are often stood for weeks or even months in the open where they can be eyed off by the artist as the final form evolves in the mind. Once the decision is made and the piece started, Leigh generally works continuously until it is completed. Sometimes the selected piece will have such a dominant form or feeling that it dictates the final product. However, when he starts with a specific concept his excellent stock is sure to provide the right piece.

THE TOOLS
Leigh may start with a chain saw then, progressively taking off less wood with an "Arbourtec" cutter (a circular blade with chain-saw teeth which fits onto a 4" angle grinder), hand rasps and chisels. When a chisel finish is not called for, a disc sander is used. Finally sandpapering by hand - in steps from 120 grade to 320 grade.

The Bellinger River by Leigh's Thora property - a rich source of old weathered wood for sculpturing.

FINISHING
The fully formed sculpture is then ready for the finishing process. Leigh’s finishing technique is meticulous. Initially the inevitable unwelcome splits and faults in the piece are considered to see whether the fault should be sculpted, or filled. Generally only 5 to 10 percent of these faults really impair the artist’s vision of the finished product. These areas are first sealed (as are all other places where moisture may enter the wood) with shellac. The filler Leigh uses is a mixture of carefully colour graded and fine sifted dust from the hand sandings off the same piece of wood, shellac, methylated spirits and white plaster. This is applied in layers to replicate the natural grain. In the end it is difficult to pick where filling has been used.

POLISHING
The French polishing then begins; firstly rubbing with pumice and shellac, then 24 to 30 thin coats of shellac, rubbing back the first two with 400 grade paper, then the next with 800 grade and the rest with very fine steel-wool. Some pieces are left with this extremely high polish. Most are more suited to a less reflective treatment. These works are lightly rubbed with steel wool and then waxed with a very fine coat of warmed bees’ wax and then polished. This final process of filling, French polishing and waxing takes 3 to 5 weeks and ensures that the natural beauty of the wood is seen at its best, in that deep glowing lustre obtainable only by traditional labour-intensive methods. Whilst not ruling out limited use of waxes and oils for some works, Leigh abhors the destruction of the timber’s character by the use of epoxy fillers and artificial finishes. Leigh never uses tints, dyes or stains.