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Pan the Herald – Bronze
The My goats began as representations of myself as a child playing on the moors and hills of the North of England where I grew up.
Reading about the mythology of the goat led to the making of this youthful urban Pan who brings the wilderness to the city. He is as alive and active on the streets as he is in the fields and forests.
Born to be Free – Grey Marble
The driving force of my sculptures is the idea of figures crossing boundaries, breaking through walls, and, in using their will-power, to penetrate the material, transforming that material. One idea behind this piece is of women, imprisoned in their own social and mental cages, managing to transform themselves and their environment and becoming complete people.
The figures and material are fluid and moving. The sculpture is to be seen as a bas-relief in which the figures are entering one side and emerging from the other.
Elena – Marble
The difference between art and object is that the object, although beautiful, has no life of its own while art has to have a presence, a soul.
I strive to give my work that spark of life and beauty.
Epistrophe– Cor-ten Steel
"Points, lines, surfaces, illusory bodies: a geometry which – contrary to the ambient urban architectonic – recalls with nostalgia the result of an organic growth … My earlier labyrinthine constructions, ‘controlled’, evoke not without some hesitation the monumentality of the baroque … a quick ironic glance at the endemic eclecticism … Industrial materials, techniques and processes permit a personal integrity and continuity … Finally doubt – doubt eternal, omnipresent – which accompanies without relenting the conflict with the object. Hysteresis? Perhaps, only the future will show."
Second Breath – Bronze
Born a Jew in Amsterdam in 1939, Maurice Blik was taken to Belsen concentration
camp at the age of four, and finally liberated by Russian Cossacks in 1945.
Blik’s experiences finally found a voice in his passionate and exquisite
sculpture which began to emerge in the late 1980s.
In this piece we see the inexpressible joy of life and the impenetrable shadow of existence held together in a struggling unity.
Torso – Bronze
“Women seen through womens’ eyes, women made by womens’ hands” is the theme of my creative work. I try to catch the female spirit in many different ways, which include bronze, stone and terracotta sculpture.
The sculptures are constructed hollow and then fired. Sometimes, I then have bronze casts made. When I carve stone, I use the taille directe method, drawing directly on to the stone and then carving by hand.
I have been a sculptor for over 15 years, living and working in Pietrasanta.
Girl, Sheet, Mattress and Pillow – Bronze Resin
James Butler was born in London in 1931 and, following several years at art school, spent 10 years working as a professional stone carver. He taught sculpture and drawing at the City and Guilds of London Art School and was visiting tutor to the Royal Academy Schools. He has since worked on numerous public commissions and works for private collections throughout the world.
James is well known in Leicester for his three public works in the City, The Seamstress, Thomas Cooke and Richard III.
Figura I and Figura II – Nero Marquinia
Sculptures are a interior-exterior way of communicating as if they were a poem or a piece of music. They are a direct message from the artist through the language of form.
Sleeping Gothc Buddha – Marble
I primarily carve in stone, the work being about simplified form and symbolism. The material and the process of carving are important as I use the way the stone breaks, cuts and polishes to reveal its structure and veins. I retain references to all the possibilities of the stone in each final piece. The work is informed by study of natural forms and patterns through drawing, which goes on to be formalised in shape, rhythm and tool marks to make the carved work a completely new entity.
Forfeit – Portland Stone
I began my career as a stone mason carver, developing skills in figurative and decorative stone carving.
The majority of my time has been devoted to school and other educational work in the form of residencies and demonstrations. I have built a foundation of public works with local authorities, producing sculptures to date in Hillingdon, Harrow, Hanwell, Aylesbury, Birmingham and Bedford. During my residencies the audience is able to experience at first hand stone sculpting as a profession and to see and feel the process as the sculpture develops, giving an insight into the whole process.
Cat – Bronze
I like to work initially with metal and welding. The rods to me are like making pencil marks on paper. I use the metal to make three dimensional drawings and then infill with plaster to get an organic texture and create tension. The sculpture is then cast in bronze.
Normally my work is about the sea and experiences of sailing but Cat is a sculpture I made after losing my own cat.
I am a full time sculptor and have work in private and public collections.
Water – Mild and Stainless Steel
Much of my work has been concerned with the meaning of identity. This work, entitled Water, is an attempt to address this question.
Visually, I have tried to create something that absorbs and distorts its
environment in its reflective surfaces, something that is defined by its surroundings.
In the centre connections and relationships are mapped: one layer partly determines
the next, like one moment flowing from another.
Memories of Love – White Statuary Marble
Helaine Blumenfeld believes that art spiritualises man. She thinks sculpture can give form to the mysteries of the human soul. Helaine carves marble to let the light into her highly complex sculptures. She seems to draw the magic life force of light into the very core of her work.
The sculpture she is exhibiting this year comes from a different aesthetic, a different approach to surface tension, seemingly simple, but because of this simplicity, the volumes, the movement, the lines become critical.
Refection I – Purbeck Limestone
Refection I dates from 1992 and is carved from Purbeck ‘Thornback’ a jurassic limestone from the Dorset coast in southern England. There are tiny black fossils held within the matrix of the stone. This detail is now obscured by the black and white pattern of the lichen which has grown over the piece during the last twelve years. Although the lichen seems to cover the stones like a blanket or crust the quality of its natural drawing, clusters of small black and white dots, define a sense of form and space which is in keeping with the nature of the stone.
Monument to Mankind (3 relief) – Bronze Resin
The movement, power and emotion present in the human form is very important to me, whether I am creating figurative or abstract works.
Sculpture is tactile, it needs to be touched as well as seen for its impact to be fully appreciated.
Together – African Marble
Christine Sielcken lives and works as a sculptor in Pietrasanta, Italy.
She works mostly by hand, not using pneumatic tools, as she believes that by working slowly, the dialogue with the stone is more intensely felt, the forms are more sensitive and the contact with the stone is more intimate.
Important to Christine’s work are movement, balance, the way the forms
meet and the lightness she projects into her work. It is important to her
that the forms move out into space and create a strong sign in space.
Mars and Venus – Cast Aluminium
All works are unique, cast in aluminium using the lost polystyrene process with, in some cases, additions of oak. Starting with a block of polystyrene the desired shape is cut with a hot wire and then buried in a special moulding sand. Molten aluminium is added, vapourising the polystyrene on contact. Within 20 minutes, the cast form has solidified and is cool enough to remove from the sand. Multi segmented pieces are welded together for finishing, a process which involves grinding with several grades of abrasive, wire brushing and the creation of a patina.
Destiny – Travertine
I started to carve in stone five years ago with much encouragement and support from artists and from enthusiastic individuals. I have had no formal training in this area, but have an instinctive feeling that the creative process of sculpting, in particular direct carving, is where I am destined to explore. I feel that artists never completely control the meaning of their work: meaning evolves and comes through from one’s own identity and memory and, maybe, myth. Destiny is one such work – she has the contours of a landscape and is steeped in her own history of time and place.
Homage II – Bronze
Eppe de Haan began his artistic career as a painter having studied at the Royal Academy for the Visual Arts in the Hague. As a painter he seemed to be searching for what could not be seen. His search led him to the three dimensionality of sculpture, which has given him the possibility of revealing hidden depths, fracturing surfaces to discover what lies beyond, using a fragment to suggest the whole, juxtaposing different aspects to reflect the complexity and the mystery of his subject.
The sculpture in this exhibition, Hommage, expresses the predicament of man. The vertical column, the implanted squares, provide a structure which seems to control the erotic sensuality of the figure and, at the same time, to free it.
Spring – Carrara Marble
Tarabella’s work represents a search for beauty, that goes beyond knowledge and objective truths and imposes itself as the authentic answer to the curiosity of being. All of his work remind us of the nature of things.
Each of Tarabella’s sculptures seems to begin with a caress which awakens our sensitive intelligence, becoming a principle of an aesthetic emotion.
Tarabella was born in Tuscany, and then he moved to Paris where he was Jean
Arp’s assistant.
He has exhibited widely and his work is in several public and private collections
around the world.
Hybrid – Resin
Deirdre Hubbard was born in New York City in 1935. She studied at Harvard University working with Theodore Feininger. She studied with Willi Soukop and Bernard Meadows at the Chelsea Art School from 1957-1960 and in the studio of Elisabeth Frink from 1962-1964.
Her sculpture explores the rhythms of natural forms, sometimes retaining the original image, but more often moving to some level of abstraction. Always important is the interplay of concave and convex shapes and the resulting curves and counter-curves.
Big Bird – Fibreglass and Concrete
My work is inspired by natural forms, both animal and plant. It is about life, about change – the cycle of conception, growth, maturity, decline and death, and rebirth in a new form.
Secondly, it is concerned with formal relationships, the forms within a sculpture, and the conversations between these forms and the spaces around them.
Vortex – Stainless Steel
Vortex is one of a series of sculptures related to the concept of movement. This work, made in stainless steel, is the third in a series of small sculptures created specifically to locate in outdoor, landscaped environments.
I have completed public sculptures for a range of clients throughout the UK and often work on a large scale, designing sculptures to work within their environment and interact with a variety of communities.
The explorations I undertake with these smaller sculptures often lead to
ideas that can be developed for the larger sculptural commissions that I undertake.
Gaia – Marble
This irrepressible desire to take hammer and chisel and carve sculpture out of a block of marble has ruled my life. My native country (Holland) has no quarries and very little tradition in sculpture. So, even as an Academy student I started coming to Italy and have continued doing so ever since.
The main theme in my work is the human figure, in a mythological context. I carve directly into the stone-block, working simply by hand as it was done centuries ago, taking off layer by layer and so letting the figure gradually emerge from the block, leaving visible the transition from the block to the sculptural image.
Evolution – Bronze
The movement, power and emotion present in the human form is very important to me, whether I am creating figurative or abstract works.
Sculpture is tactile, it needs to be touched as well as seen for its impact to be fully appreciated.
Quantum Jitters – Ancaster Stone
Chris Dunseath studied at Cheltenham College of Art and the Slade. He has been a Cardiff Sculpture Fellow. He was awarded a Winston Churchill Travelling Fellowship and worked extensively in Egypt. His work is represented in many private and public collections including Arts Council England. Quantum Jitters is carved in Ancaster stone and is a result of various diverse influences including ancient Egyptian sculptures and an interest in aspects of theoretical physics such as string theory.
Twosome – Bronze Mesh
David Begbie, born in Edinburgh, Scotland in 1955, completed seven years at art school and emerged with a unique sculptural technique and the beginnings of a new visual language.
Since 1979 Begbie’s work has been shown in galleries in London, Zurich, Toronto, Rome, Madrid, Los Angeles, New York, Aspen, Miami, Sydney, Vancouver and Hong Kong, and is found in major private, corporate and public collections. His works are extraordinary sculptured renditions, on one level simple linear descriptions of the human form, but also about relationships, masculinity and femininity, individuals as well as pairs or groups, physical, sexual and emotional.
Regatta – Bronze
John Sydney Carter, after a period of experimentation, has achieved a purely personal and individual expression both in his drawings and sculpture. In these he has developed a distinct imagery, centred around water, swimmers, birds and sailing, that is uniquely his own and which was directly inspired by his own experiences of sailing his yawl on the Suffolk coast. Together with corporate sculpture projects, his work is regularly exhibited in national galleries.
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