Slate, because of its nature of strata, she started to cut rather than carve, and became intrigued by the shapes and shadows and by the sheer beauty of the material. What she learned, from working in slate, feeds back into the stone pieces giving her new avenues to explore.
Perryn works intuitively, relying upon the subconscious and the stone to guide her. She draws straight onto the stone and works directly, in the tradition of the early 20th century carvers. It often surprises her when she arrives at something completely unplanned and has no idea where it came from. Sometimes she sees it in a wild stone straight away and sometimes it takes longer for her to understand the stone’s message. The feelings weave through the sculpture and connect the skein of ideas. The recurring topics of music, love and war are ultimately driven by the material she works in.
The Innuit believe that the stone has a spirit and she knows this to be true. She makes real sculpture from the heart and the spirit which will last for millennia.
Perryn was also a composer,singer songwriter and music has been a big part of her life. She played in a band for many years until she was seriously injured in an accident in 2011 whilst working on a Slate Sculpture for Crymych School, so music is very knitted into her thinking. Perryn showed a selection of both sculptures associated with music, and her new range of textural slate sculptures at the Fulham Palace Arts Fair in Fulham, and subsequently the Slate range has become in demand both in the UK and worldwide . Her unique application of lead to stone, is also a signature technique unique to her. She started applying pieces of lead because Cotswold stone has small patches of iron ore buried within it which marred the sculpture. She cut these out and fitted the lead. This became a deliberate feature when she found she enjoyed the contrast between these ancient building materials, and now adds lead, copper and bronze to her stone sculptures.