Sometimes, maquettes can be more beautiful than the object they were made for. There’s something about the diminutive version that’s so appealing. I love to look at Henry Moore’s plaster maquettes at the AGO. Positioned in a glass case just outside a vast room of his reclining figures, his maquettes offer a glimpse into the sculptor’s process. We can picture his fingers moving across the plaster, the entire figure resting in his hands. Moore aimed for monumentality in his work and his small maquettes are infused with as much of it as his larger works. For the last few weeks, I’ve been making paper maquettes of things I am either working on, or would like to work on in clay. Paper is cheap, and making a paper vase takes ten minutes versus the hours and hours that I pour into a clay one, and so I come to each one with a levity and irreverence that’s refreshing. I like them a lot, and while they lack the permanence of clay, they are feeding something in me that I hope will live on.