Heart Beat

Heart Beat

I have never known the touch of my own child
but I have heard a heartbeat.
I will not hold the fragile yet feisty promise of youth.

My heartbeat shall not be reformed
and shall not be heard through tiny new ears.
My mummer of voice will
never be heard.

Acrobats – Plain Girl

These are based on drawings from Circomedia, we held a few circus drawing events there with the Bristol Drawing School. In the first I was trying to make a sculpture literally from one of the drawings. It is a relief and will be cast in bronze before too long. The others, also to be cast in bronze, are free standing.

It is a drawing of a swing, not a real swing, lines are representational rather than functional, gestural rather than accurate. 

Plain GirlYou can be plain and still be a plane. Even the plainest people can be acrobats inside, these pieces are about them/us. 
Plain: ordinary, simple, or unostentatiousPlane: to fly without moving wings or using engines, to glide or soar

Breaking from the Circle?

Having made our lives so complicated, wanting freedom is like the new religion. Freedom is what we have but maybe don’t understand. The land of the free and yet we tire ourselves with other things not seeing it, depressed by material desire, getting more, wanting more, forming a circle, getting more, wanting more etc etc

Sculpting like a painter

Written in April 2010 while making the piece ‘Her’

Sculpting like a painter

Anish Kapoor says that he is a ‘ painter working as a sculptor ‘.

I like oil paintings very much and think I would like to be a painter.

The reason I think I would like to be a painter at the moment is about illusion.

I envy the painters ability to escape the reality, there are reams of information missing but the image is just as arresting. Potentially arresting because of this missing information, this fudging of life. Nathon Fords work has this ( http://www.beauxartsbath.co.uk/Ford09/Pages/Index09.html ) Clarity appears only in small traces, like in life when clear thoughts appear they are more potent, more real.

I looked back into my sketchbook to find the quote about Anish Kapoor from a recent trip to the Guggenheim, it says there in his words, ‘art is illusion, it’s the illusion that goes deeper to the real’. I was originally excited about this piece because I always wanted to make my dress like this, sections of core ten like a bridge but maybe it was in fact this piece that made me understand more clearly.

For now, my illusion is the illusion I see in painting, in thick oil paint. Is this possible within the three dimensions of clay? It is there, it has to be all there, it is not an illusion, and there are no clever kapoor tricks in a seated figure. With my work you walk round the back………a painting of a head has no back and does not need one.
But the last few days I have found a bit of peace with this issue and perhaps a way of remaining a sculptor.

The clay is so like oil paint, always has been. So like charcoal, the image is there and then it’s gone. It is easy to pile on, scrape off, smudge, fudge. So I have to rely on surface like a painter does. Be a sculptor, but my paint is clay.

Pots,Vessels and Dresses

I have for some time wanted to make a pot. I like vessels and am always attracted to still life drawing and paintings that contain volumes. I think the paintings by Volkert Olij are some of the most exquisite things I have ever seen, I can only describe the feeling in front of them rather crudely as lust! They are the type of paintings that for me are just very difficult to walk away from.

I keep going back to his catalog to look, I am not sure exactly how they are inspiring just the feel of them, the light and space and the forms.

Withstanding was the first piece where I started looking at the shape of the skirt as a form in itself and more and more my sculptures have been getting clothes. I recently went to a lecture on drawing and started drawing this dress.

It was so ingrained in me and so particular I worried I had seen the image before and have copied it from a famous image somewhere, but have not found the source so far. In the lecture one of the artists was using the shape of a skirt in her paintings and it seemed to trigger something in me, I think it was that it was ok to be feminine. I drew and drew the dress, it seemed odd to me but at the same time right.