Come Along Girls

It’s January 2021. I go down to the studio and catch up with my standing figure again.
She has no arms, but her shoulders suggest they are reaching back and without a thought her arms collect two girls.

It feels different to anything I have done.

The intimacy of the support is a felt emotion,
I work close and an arm goes round a shoulder,

then stepping back I am shocked all over again.

Shocked how they ended up in the studio,
the three of them
Strong girls, standing there.

 

Their newness I find exciting. The energy they create is exhausting
The fact that the base was made for one and it wobbles… unnerving.

The studio is cold
but not miserable.
The solitude is intense
but not unpleasant.

I have my sisters here.

I reached back
and
found two children.

Come on guys
keep up.

They are rock and leaf.

Sometimes a hand just holds a shoulder but sometimes the clay looks like a cliff face
and other times it’s a river falling through time,
flowing over form.

The clay moves around

give and take
you to me
me to you
Come along.

You may see a felt feeling.
Family.
What you know.

I don’t know.
Is it my lost children?
or myself… lost?

Or am I
not
in fact lost.

I just went and
got myself.

Come on girls. It’s ok.
Come along.

Place I

220cms high. Hole approx 60cms. Figure 29 to 35cms figures tall, head 172cms high.
84 cms high on 110cms high solid oak plinth

In polished stainless, the viewer stands in front of the sculpture. The viewer stands looking at herself within her immediate surroundings. Then a space, a circular gap in the reflection, another space. Within it stands a figure looking to a view, a distant place.

Prices

  • 220cms Polished Stainless £48,000
  • 220cms Corten £24,000
  • 84cms Polished Stainless Steel £19,800
  • 84cms Bronze £27,800
  • 84cms Corten or Iron Resin £POA

All prices approximate and subject to change, any fixings and base extra.

Material Options

Place could be made in corten, rusted mild steel, polished stainless or wood.

My preferred option because of the concept of Place, would be polished stainless. The viewer stands looking at self within landscape. Then a circular gap in the reflection, another space. Within it stands a figure looking to a view, a distant place.

Corten or Mild Steel Rusted

On a clear day, facing the sky, a circle of blue all the more intense, set off against the red of corten like a painting. If it’s cloudy then the figure within the sculpture comes more to the fore.

Images showing sculptures by Richard Serra made from steel but gives the idea and colour of corten
Images showing sculptures by Richard Serra made from steel but gives the idea and colour of corten

Fabricated Wood

‘Place’ could potentially be made out of fabricated oak. I would need to do some more research on the detailing of the hole and how much movement there would be in the oak.


Images from English Oak Buildings who I work with

Mirror Polished Stainless Steel

A highly reflective surface that acts like a mirror, reflecting and framing ‘Place’.

The flat surface of ‘Place’ would not be so distorted as in the pictures below so would be more of a direct mirror projecting light and views.


Images showing Cloud Gate by Anish Kapoor and Jeff Koons Balloon Dog.

Background to Place

The figure in Place is based on a poem.

I Have It Here

Sometimes it’s easy to focus on the have not
rather than the have.
The could be, possibly, should be
rather than the have.

I have enough stuff. I have time,
I have life.

I possibly could, possibly should
have more
but I have some, I have enough.

I look outside, over there, under here
but look I have it here.

Look
I have it here.

Look
I have it here.


Details of figure

The figure comes from the poem, I Have It Here, so she has her eyes closed. This represents the idea that she has what she needs within herself, it is empowering. But depending on its location, she may want to animate the space in front, bringing that space to the viewers mind and so she may have her eyes open.

The steel circle I think it’s been with me all my sculpting life. At art college I was brought up on Anthony Caro and abstract steel sculpture, I rejected as I was uncertain on what to do with it, but here it comes into my work, life indeed has circles.

Sometimes, you make a piece of work which is the piece you have always being trying to make, what your work is fundamentally about, even though you can’t quite pinpoint what that is. Which is good because if everything could be explained with words then what’s the point my job.