Clay and Machinery Merge in Poignant Sculptures of Endangered Species [Interview]

Clay and Machinery Merge in Poignant Sculptures of Endangered Species [Interview]

During his time at the Ringling School of Art and Design in Sarasota, Fla., Chris Hynes descended upon a junkyard for an assignment. At first, this may seem like an unusual choice, but it was one that would eventually come to define the artist’s practice. Now, years later, Hynes still incorporates discarded metal and other found objects in his sculptures, all of which are bursting with fascinating textures, edges, and details.

Hynes recognizes that copper, scrap metal, and old engine parts can often come across as severe and industrial. That’s precisely why he also relies upon clay, pigment, and plaster, using these materials to soften harder surfaces and create juxtapositions between what he calls “flesh and machine.”

“The combination allows me to blur the line between mechanical and natural, harsh and delicate,” the artist tells My Modern Met. “In my work, the coexistence of these elements is both uneasy and beautiful.”

That fusion results in a unique tension, especially considering that Hynes has a preference for crafting animals. In his sculptures of deer, elephants, lizards, octopi, and everything in between, the built and natural worlds confront one another, seeing inorganic machinery and organic subject matter both clash and unite. Recently, Hynes has been exploiting that inherent contrast with his sculptures of endangered species, whether they be bison or sea turtles. Here, metal surpasses its function as a pure means to an end. Instead, it’s suggestive of human industrialization, one of the most significant factors contributing to our ongoing climate disaster.

“[Endangered species] exist in environments increasingly altered by human industry,” Hynes explains. “I want [my audience] to recognize the dialogue between nature and industry, and to reflect on our responsibility toward the environment and endangered species.”

My Modern Met had the opportunity to speak with Chris Hynes about his artistic practice, his relationship with nature, and how he addresses issues surrounding animal welfare throughout his work. Read on for our exclusive interview with the sculptor.

What originally drew you to sculpture as an artistic medium?

I was first drawn to sculpture during my time at the Ringling School of Art and Design, where an assignment led me to a junkyard to collect discarded metal. My first sculpture was a metal fish that used old engine parts and discarded copper wire to bring it to life.

Sculpture allowed me to work in a way that was physical, tactile, and enduring—breathing new life into materials that might otherwise have been overlooked.

What is the process of creating one of your sculptures? 

My process begins in one of two ways: sometimes with a sketch or idea that I want to pursue, and other times with a piece of scrap metal that sparks inspiration all on its own. I spend time in junkyards searching for forms, textures, and shapes that speak to me, and from there I begin assembling. Welding, bending, and cutting are as much about discovery as they are about construction. I often incorporate clay or pigment to soften the harder edges, creating a contrast between flesh and machine. Each sculpture evolves organically—part intuition, part engineering, part storytelling.

Are there any specific materials that you find yourself using more often than others? 

Copper and scrap metal remain at the heart of my work. I’m drawn to their weight, strength, and industrial character, and I love the challenge of reshaping something rigid into a form that feels alive and fluid.

Alongside that, I frequently use clay, plaster, and paint to introduce more organic qualities. The combination of these materials allows me to blur the line between mechanical and natural, harsh and delicate.

Your latest works have revolved around critically endangered species. What first compelled you about this subject matter? 

The natural world has always been a source of inspiration for me, but the urgency around endangered species struck a deeper chord. These animals are extraordinary, yet fragile, and too often their stories are overlooked until it’s too late. I wanted to use my sculptures to give them presence—monuments that both celebrate their beauty and remind us of what we stand to lose. For me, it’s a way of connecting art to conservation, and of sparking a dialogue about how human impact shapes the fate of the natural world.

How do you juxtapose organic and inorganic elements in these sculptures, and how does that contrast relate to the topic of endangered species? 

The use of scrap metal and industrial materials speaks to humanity’s imprint on the planet, while the organic forms I sculpt represent the natural world fighting to endure. By fusing these elements, I create a tension between resilience and fragility, survival and loss.

This contrast mirrors the reality endangered species face: they exist in environments increasingly altered by human industry. In my work, the coexistence of these elements is both uneasy and beautiful, a reminder that our actions leave indelible marks on the ecosystems around us.

Do you have any particular animals you especially enjoy sculpting?

Not particularly. I can usually find something interesting in any animal as each sculpture has a way of telling its own story.  In the early years, marine creatures—whales, fish, and sharks—captured my imagination with their fluid forms and their symbolic connection to depth, mystery, and the unknown. Both allow me to push the balance between metal’s rigidity and the natural world’s sense of motion and freedom.

What do you hope people will take away from your work? 

I hope my sculptures spark both wonder and reflection. On one level, I want people to connect emotionally with the form—the movement of a wing, the tension in a stance, the sense of life captured in metal. On another level, I want them to recognize the dialogue between nature and industry, and to reflect on our responsibility toward the environment and endangered species. If someone walks away seeing beauty in the resilience of nature—and also feeling a call to protect it—then I feel the work has done its job.

Chris Hynes: Website | Instagram

My Modern Met granted permission to feature photos by Chris Hynes.

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