I receive letters like this once a fortnight. They effectively promise to do sculptors’ hard work for them at a very reasonable cost. I send a small model or maquette to China, and it will be factored to my dream size in granite or my chosen material; hardness no object. Permanence guaranteed. All from the comfort of my chair. This process is behind much of large work in stone today – the anodyne Borough works of statuary as well as large works by non-stonecarving artists who (perhaps) are using stone as an addition to their oeuvre, to tap into the huge … Continue reading Stone: whose work is it anyway?
En route for Scotland for sittings with sculptor Ronald Rae and Founder/Director of Yorkshire Sculpture Park Peter Murray as part of my sculpture series of heads, I was privileged to spend a few hours with Fenwick Lawson, an artist whose work is less well-known internationally than it perhaps should be. After training at the Royal College of Art under John Skeaping (at a time when Jacob Epstein was working on a major commission in the spaces there), he eschewed a potentially lucrative alliance with a top Gallery early in his career to maintain his independence and resist being requisitioned to … Continue reading Angel of the North
One perennial issue with clay sculpture seems to be the pre-occupation with the smooth – perhaps aimed at some form of ‘finish’ – with less attention to the completeness of the sculptural form or plane, by which I mean where the surface should attempt to be visually consistent – read as one – in whatever texture or idiom is used. A shiny rubber ball is a smooth, complete sphere. A single compound curved plane exists – a simple and yet complex sculpture. An orange’s form is relatively complete whilst not being overly smooth. Its surface has a regularity in its irregularities that … Continue reading Smooth, yet not complete