I have resisted bronze until now, worrying about the weight of history it carries and the fact it is so often overused – an automatic ‘go-to’ to add perceived value, whether or not the material is appropriate or needed. But last year, in the midst of political upheaval and threatened identity, I felt the need to make a series of handheld objects to hold on to and they needed to be heavy. I made them in clay and cast them in various materials such as plaster and concrete, but none gave me the feeling of dead weight I was looking for.
In June I was excited to judge the Royal Society of Sculptors bronze award supported by Milwyn Art Foundry. This prize is given to a graduating student from the RA, provides 3-6 month space and support at the foundry, £3000 of materials and a show of work at the Society. Alex Davies of Milwyn and I were
This site-specific exhibition was shown inside the chapel of the Brompton Cemetery in 2001.The shapes on the walls were inspired by the headstones outside. At the time I was experimenting with how very slight differences in line, of only a couple of millimetres, could change the look of a curve or shape significantly. The shapes are cut from aluminium and painted with pigment and graphite
These ‘drawings’ of Victorian headstones were originally commissioned to remember absent graves in West Norwood Cemetery before transferring to the Churchyard at Croft Castle. In West Norwood, as part of site=specific exhibition, Curious, these metal ‘drawings’ in painted steel, traced the outlines of headstones on land previously cleared by the Council. They represent those buried in the cemetery but whose grave is no longer marked. By day their strong colour and simple abstract forms will be