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has shaped it, smoothed it and set it in the position it will be cast. The detail work has just begun, but you can already see the bull’s expression and the muscles in its legs and back. As long as Kevin can maintain momentum, he’ll be finished in about a month. Then, the piece heads to the foundry, where 16 of them will be cast. He’s already received the green light from his wife. “She’s crucial,” he says. “When I get to a point that’s make or break and I need an honest candid opinion, I go to her and say ‘what do you think?’” She had only one suggestion for the bull: make it angrier. Kevin agreed. He worked on the eyes and adjusted the bull’s position, giving it a fiercer look. Judy’s feedback matters. Over the years, Kevin has scrapped numerous pieces before they ever saw the foundry. Some were tossed in the early stages. Others were nearly finished. Hours, days, weeks, months of hard work reduced in seconds to a large ball of clay. He admits it’s painful. But it has to be done. “Sometimes you’ve got to start over,” he says. “You do it at least once.” It always astonishes Judy. “How can you destroy something like that?” she says.
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