DENSITY & LIGHTNESS

SCULPTURE EXHIBITION 12 JUNE – 30 AUGUST 2021

EXHIBITION GUIDE 75 SCULPTURES 25 ARTISTS

www.swsculptors.co.uk DENSITY & WELCOME LIGHTNESS

IT IS A DELIGHT to welcome you to Exeter Cathedral for this wonderful South West Sculptors AN INTRODUCTION exhibition, Destiny & Lightness. This building, and the surrounds, is a place of awe and wonder, SOUTH WEST SCULPTORS is an Other sculptors address their reverence an ideal setting for us to host the many and inclusive collective of artists, aiming to for the natural world, which embodies varied sculptures on display. This is a place to collaborate and promote our passion both extinction and survival. Chaos and slow down, take time and ponder on the for the 3D form. We are privileged to fragility can be seen in the modelling of before you. The Cathedral has many examples of show our work in Exeter Cathedral, an threatened species, such as Orang-utans, sculpture and art in various forms as part of our environment rich in its accumulation of or in the carving of an overcrowded fabric. It is a joy to welcome this exhibition that sculpture over centuries. developing world community. Rev Canon allows us all to consider our place in the world, Conversely, order is recaptured in Dr Mike D Williams and our responses to the artwork. Our theme of Density & Lightness is sensuous, consecutive contours already prevalent in the fabric of the fabricated in pewter, or in Mandala-like I discussed the possibility of an exhibition with Cathedral: density enveloped in the seed patterns carved in stone. sculptor Martin Staniforth back in 2017. This intense stillness of carved tombstones followed his sculptural response to the Royal (H) or a pondering soldier (A); lightness Density & Lightness is also expressed Clarence fire, Hope & Renewal, fabricated reflected in an eagle poised for flight in the chosen materials of sculptors from burnt wood and displayed outside the (F) or a radiant glass Altar Group (E). and in their transformation. Abandoned West Front of the Cathedral. We planned for Now, the creative imaginations of driftwood is recycled to become a this larger exhibition to happen in 2020 but the 25 contemporary sculptors display a dynamic horse; dug clay undergoes a pandemic intervened. wealth of interpretations of this theme. stringent Raku-fired process to become a wader bird and metal wire is crafted The power of art to speak to us at important The inevitable perpetuating cycle into delicate plants, teasing with their moments in our lives should never be of Life and Death is depicted and carnivorous properties. Meanwhile, underestimated as we emerge from severe sequenced in both the calm, flimsy string crocheted into cocoons restrictions and the impacts on normal life. contemplative stone figures, and in the gains a surreal weighty quality through The builders of this Cathedral recognised that, challenging, suspended effigies. Life the process of bronze casting; cascading in creating something to the glory of God, we and breath are evident within portrait mobiles of glass, although cold and solid might all experience the beauty and wonder of sculptures, which essentially explore in essence, appear fluid and translucent. artisanship and art. May you be captivated and bone structure and decay, whilst an inspired by what you see and experience today. iconic Crucifixion portrayal is imbued Finally, visitors are invited to ponder over with the intensity of emotion and light. words and quotations integrated into Rev Canon Dr Mike D Williams some of the sculptures on the theme of Canon Treasurer, Exeter Cathedral Journeying past further figurative Density & Lightness. Although we battle works, the viewer can perceive how and despair with the threats of Climate the human being itself is the vehicle Change, our Planet seemingly in a phase for the polarities of lightness and of destruction, we read hints of renewed With thanks to Diane Walker and Lindsay Roderick density. It is a place where gravity can hope and a sense of balance. for additional research on the Cathedral sculptures. be transcended, where separation can Hope & Renewal (2017) become attachment and the earthly Angela Holmes by Martin Staniforth (Morth) cover image: Cocoons (46) by Hetty Ann Laycock. can become ethereal. South West Sculptors

DENSITY & LIGHTNESS – EXHIBITION GUIDE 1 SCULPTURE LOCATION MAP

4 6 14 5 North Transept 13 A 1 21 E

18 19 20 22 Entry 12 D 15 16 17 F 76 2 23 8 24 25 H 30 31 B 9 G 26 28 3 Lady L C 7 27 Chapel 29 33 10 32 34 11 35 36 Exit 57 56 55 55 54 J 53 52 51 47 46 45 44 42 41 I 43 40 37 38 South 48 39 Transept 49 71 72 73 74 75 58 50

70 Key Cloister Gardens 64 59 60 69 Suggested route 65 through exhibition

63 62 61 K A Cathedral sculptures

1 SWS sculptures 66

68 67

2 DENSITY & LIGHTNESS – EXHIBITION GUIDE DENSITY & LIGHTNESS – EXHIBITION GUIDE 3 LIST OF SCULPTURES

HEIGHT WIDTH DEPTH WEIGHT HEIGHT WIDTH DEPTH WEIGHT LOCATION TITLE SCULPTOR MATERIAL (CM) (CM) (CM) (KG) LOCATION TITLE SCULPTOR MATERIAL (CM) (CM) (CM) (KG) NO PLINTH NO PLINTH NO PLINTH NO PLINTH NO PLINTH NO PLINTH NO PLINTH NO PLINTH Memorial to the Bev Resin, iron, acrylic, officers and men James 17 Flotsam 77 28 8 0.9 A ––––– Knowlden driftwood of the Devonshire Stevenson Regiment 18 Horse Head Rose Ellis Raku ceramic 47 33 – 6 Driftwood, 19 Horse and Rider Rose Ellis Stoneware ceramic 36 30 – 3 Disposable 1 Jennie Scott ceramic, leather, 40 62 20 3 Animals of War copper wire, poem 20 Boulder Rose Ellis Raku ceramic 31 27 – 3 Willow, aluminium, Anne-Marie Scension - Martin 21 Angel Alabaster 66 29 – 30 2 cotton, 330 200 150 15 Moss floating Staniforth soundscape Justin E Altar Group ––––– Scension - Martin Knowles 3 Willow, wood 550 210 210 80 grounded Staniforth F Eagle lecturn unknown – – – – – Sir George B Martyrs’ Pulpit ––––– Gilbert Scott 22 Cristóir Nicola Rigby Bronze resin 65 45 37 7 Stoneware 23 Dawn Ripple Melanie Guy Pewter 120 30 10 9 4 Life Links Eddie Kent 110 34 34 36 ceramic 24 Remember Gaia Melanie Guy Welsh slate, brass 21 20 7 2 Jan 5 Screen Fused glass 13 10 1 0.1 Monument to Lead, stainless O’Highway 25 Melanie Guy 6 8 12 4 Mother steel, brass Before The Hessian, mixed 6 Jennie Scott 64 55 30 3 Rooster Crows media 26 Of Two Minds Melanie Guy Welsh slate, brass 22 22 8 2 Lime wood, Ruby Wave Isabel 27 Melanie Guy Pewter 120 30 10 9 7 and ...? traditionally- 220 200 40 – Ribbon Coulton painted panel Luke Stoneware 28 Crucible I 80 40 40 20 Helen Shepherd ceramic 8 Pigeon Mary Bronze 20 25 – 2.5 Ridehalgh Luke Stoneware 29 Crucible II 80 40 40 20 Helen Shepherd ceramic 9 Doves Ceramic 20 25 – 0.5 Ridehalgh G Unfolding Love Janis Ridley – – – – – 10 Wader Bird Rose Ellis Raku ceramic 58 44 – 2.5 Lady Dodderidge H unknown – – – – – The Cathedral John Tomb C ––––– Organ Loosemore Faithful Chicksgrove 30 Pippa Unwin 22 50 20 25 11 Golden Eagle Derek Cadle Bronze 43 71 50 22 (canis fidelis) limestone Torso - Spes Helen 12 Sthénos (ed 2/7) Nicola Rigby Bronze resin 58 34 24 6 31 Ceramic 64 44 25 10 (Hope) Ridehalgh Elephant D unknown – – – – – misericord 32 Earth Mother Ani Buckland Bronze resin 60 20 20 10 The Stillness Angela Stoneware The Kelpie Bronze resin on 13 54 55 13 – 33 Nicola Rigby 31 41 30 5 Within Holmes ceramic, slate (ed 1/7) spalted beech When The World Angela Stoneware Angela Polyphant stone 14 48 40 25 – 34 Protection 73 – – – Goes Quiet Holmes ceramic, cord Holmes & glass Jan Hope Rides Antique bronze 15 Melody Fused glass 150 40 2 2 35 Ani Buckland 38 30 20 2 O’Highway Eternal resin Slipping Away Bev Anne-Marie 16 Iron resin 29 180 27 12 36 Feelings Of Joy Bath stone 69 20 16 30 (ed 4/10) Knowlden Moss

4 DENSITY & LIGHTNESS – EXHIBITION GUIDE DENSITY & LIGHTNESS – EXHIBITION GUIDE 5 HEIGHT WIDTH DEPTH WEIGHT HEIGHT WIDTH DEPTH WEIGHT LOCATION TITLE SCULPTOR MATERIAL (CM) (CM) (CM) (KG) LOCATION TITLE SCULPTOR MATERIAL (CM) (CM) (CM) (KG) NO PLINTH NO PLINTH NO PLINTH NO PLINTH NO PLINTH NO PLINTH NO PLINTH NO PLINTH Anne-Marie Laser-cut birch 37 Affectionate Alabaster 66 20 16 30 Martin plywood, Moss 58 Tree Of Hope 220 140 140 50 Staniforth community 38 Eagle owl Pippa Unwin Serpentine 40 20 20 35 papers, acrylic 39 Barn owl Pippa Unwin Alabaster 40 20 20 35 Isabel 59 Pierced Panel Pierced oak 40 147 4 – Coulton 40 Eternal Nicola Axe Portland stone 40 26 26 20 Lime wood, Isabel Isabel 60 Reclining Nude yellow ochre, nail 40 140 8 – 41 Mother & Child Monterey Cypress 57 23 17 4 Coulton Coulton varnish Isabel The Testament Kenneth 42 Ilex Shimmy Holly wood 56 26 5 5.6 K ––––– Coulton Sculptures Carter 43 Gold Bright Sun Zoe Singleton Bath stone 44 44 9 8 Reclaimed pine, Looking Down 61 Dan Cordell plywood, tin can, 60 60 20 10 Impressions of Anne-Marie On Shanty Town 44 Plaster, silver wire 150 100 – – acrylic, Danish oil Nature Moss Reclaimed pine Reclaimed pine 62 Cityscape Dan Cordell floor joists, acrylic, 40 200 15 12 45 Fishing Village Dan Cordell floor joists, tin can, 50 130 15 15 Danish oil acrylic, Danish oil Stoneware Cocoons Hetty 63 Japanese Dragon Eddie Kent 65 41 15 15 46 Bronze 15 10 10 1 ceramic (set of 10) Laycock 64 Venus Fly Trap Derek Cadle Patinated copper 140 120 110 5 Portland stone, 47 Emergence Nicola Axe 53 21 13 25 oak plinth 65 Pitcher Plant Derek Cadle Patinated copper 143 70 30 4 Between Sun and Angela 48 Llamrei (ed 1/7) Nicola Rigby Bronze resin 113 27 – 6 66 Bath stone 47 37 25 40 Moon (Triptych) Holmes Iron resin, Bev 49 5 Cheeky Chesters reclaimed metal, 118 25 25 13 67 Freedom Jean Lock Stone resin 70 29 29 10 Knowlden wood Oak, Polyphant- 68 Baleen Melanie Guy 100 100 50 30 Resin, jute, type stone The Long Bev 50 reclaimed metal, 92 18 13 8 Forgotten Knowlden Portland stone, wood 69 Into Silence Nicola Axe York stone, 112 20 24 70 Ammonite Stoneware 51 Exploring Circles Eddie Kent 185 35 35 50 ceramic Fair Weather Again 70 Zoe Singleton Ham Hill stone 50 140 40 220 Shall Come Stoneware 52 Martyrs Eddie Kent 102 14 14 8 ceramic Miguel Flame-treated 71 Form1 60 60 20 20 Valentini wood I Green Man unknown – – – – – David 72 Phyllotaxis 1 Kilkenny limestone 10 50 50 67 53 Scapegoat Ani Buckland Bronze resin 30 22 16 1 Newman Saint Lawrence on Richard J unknown – – – – – Forged steel, the gridiron 73 Singing Tree Bent / Jan 2750 2500 2500 25 fused glass O’Highway 54 Crown Ani Buckland Ceramic 60 45 3 David Creation Maria Bath stone, 74 Phyllotaxis 2 Kilkenny limestone 10 50 50 67 55 44 33 22 40 Newman (Birth) Moorhouse marble base Miguel Flame-treated Emergence Maria Bath stone, 75 Form2 100 45 25 35 56 66 20 14 40 Valentini wood (Growth) Moorhouse marble base Martin Reclaimed historic Lapene French 76 Resurgo 500 250 200 1000 Sleep Maria Staniforth timbers 57 limestone, marble 33 33 20 40 (Death) Moorhouse base L St Verity – – – – –

6 DENSITY & LIGHTNESS – EXHIBITION GUIDE DENSITY & LIGHTNESS – EXHIBITION GUIDE 7 WW1 MEMORIAL TO THE OFFICERS AND MEN OF THE DEVONSHIRE REGIMENT (A)

On the first day of the Battle of the Somme, in 1916, Devon’s County Infantry Regiment suffered 161 dead. They were buried in the remains of their frontline trench. Their comrades MARTIN STANIFORTH MARTYRS’ PULPIT (B) inscribed on a wooden cross: (MORTH) “The Devonshires held this trench. This was erected in memory of Bishop The Devonshires hold it still.” I am fascinated by the natural process John Coleridge Patteson, ordained here Today, a memorial stone at the entrance JENNIE SCOTT of renewal. When one thing ceases, in 1855. He became the first Bishop to the Devonshire Cemetery bears the something else emerges to fill the of the Pacific islands of Melanesia, same words. In 1921, Major-General I combined driftwood and ceramic to void. An ending can be a beginning. learning more than 20 languages. Sir Louis Bols unveiled this bronze, make Disposable Animals of War (1). Scension – floating (2) draws on Tragically, in 1871, he was murdered on emphasising that the crouching soldier The sculpture has an energy that is in imagery from the Cathedral to reflect the island of Nukapu. The central panel represented the “spirit of determination, total contrast to a carving from a single the cycle of life and death. Are these shows 3 islanders placing the Bishop’s doggedness and self-sacrifice”. The piece of wood. When I hold a twisted, effigies rising? Angels falling? Shrouds body in a canoe, to be returned to his sculptor, James Alexander Stevenson, sea-weathered piece, I wonder what blowing in the wind? Scension – ship. Two early British Christian martyrs, signed his piece as MYRANDER, a story it could tell. Did it come from grounded (3) is directionally ambiguous. St Alban and St Boniface, are depicted conflation of his middle name and that a far-away island? Perhaps from an Is this a seedling sprouting? A meteorite in the other panels. Also depicted are of his wife, Myra. undiscovered shipwreck? Or it might whooshing to earth? An organic coffin? St Stephen, St John the Baptist and St have been thrown into the sea on the far A flame? What do you see? Outside, the Paul. Designed by Sir George Gilbert side of the world by a child? Before The charred remains from a historic fire rise Scott in the 1870s, the pulpit was made Rooster Crows (6) alludes to Jesus’ words up and reform in Resurgo (76). Inside, by Farmer and Brindley, using finely- to Peter: “you will disown me three times” you can contribute to the Tree of Hope grained Mansfield sandstone for the and the density of their implication. (58) sculpture. detailed carvings.

8 DENSITY & LIGHTNESS – EXHIBITION GUIDE DENSITY & LIGHTNESS – EXHIBITION GUIDE 9 HELEN RIDEHALGH

Pigeon Mary (8) has been inspired by Mary of Exeter, a carrier pigeon who collected messages from France, was injured 3 times and awarded the for outstanding war service 1940-1945. The Exeter Civic Society placed a blue plaque on the house that she returned to on West Street. Here She Gazes Past Doves (9). Torso - Spes (Hope) (31) shows a human shell capturing an essence of life. The body is hand-built using a refined coiling technique, coloured with earth oxides and fired to a high temperature. It draws ISABEL COULTON on inspiration from rock forms, bronze Surely we are acutely aware of the patination and the many tragedies our world faces today? archaeological Attempting to unburden my soul, shard. and…? (7) asks “Why? How? Please can EDDIE KENT we mend this?” There is a gaping hole in our compassion - without a long hard My passion is clay, said to be one of look at ourselves, how can we escape the easier media to sculpt due to its JAN O’HIGHWAY the black hole of unreason? My work malleability. However, this ease is doesn’t normally centre on world affairs, offset with unpredictabilities around Glass, with it’s magical ability to lift but I struggle to remain calm amidst drying, shrinking and firing. It is the spirit by enhancing the passage man-made destruction. Plastic, these uncertainties that I thrive on, of light with incredible colours, has melting ice, burning continents, being open to the process that turns been a feature of every Cathedral since devastated forests, displaced something as organic and natural as Mediaeval times. Each shimmering peoples, war and buffoonery clay into finished forms. As a ‘Ceramic piece of Screen (5), Melody (15) and flouting reason; these Artist’, my work is inspired by Space, Singing Tree (68) was individually kiln- are a few of today’s Early Technology and Victorian formed by fusing together multiple diseases. The artist’s Industrial design mixed with Gothic and layers of richly-coloured Bullseye gift to herself is to Celtic art. Some say my style is very glass with the beautiful “butterfly exorcise intense feeling graphical, probably stemming from the wing” of dichroic glass. The resulting through her work. I hope it delivers. fact that I was a Graphic Designer for delicacy and brilliance complements Mother & Child (41), Ilex Shimmy (42), 30 years. Life links (4), Exploring Circles the grandeur and strength of Exeter Pierced Panel (59), Reclining Nude (60). (51), Martyrs (52), Japanese Dragon (63). Cathedral’s architecture.

10 DENSITY & LIGHTNESS – EXHIBITION GUIDE DENSITY & LIGHTNESS – EXHIBITION GUIDE 11 NICOLA RIGBY

Mythology sums up our human desire for understanding so neatly, I can think of no better lens through which to confront life. My work in this exhibition – Sthénos (12), Cristóir (22), The Kelpie (33) and Llamrei (48) -- explore variously the face we present to the world, the strength of our determination and our ultimate fallibility.

ROSE ELLIS THE CATHEDRAL DEREK CADLE ORGAN (C) The process of turning clay into an I came to sculpture object gives me a sense of wonder. I The resting face stands on an ornate following retirement love the primitive, squidgy experience of medieval screen, preserving the classical from a hectic career as handling clay and the surprising results. distinction between Quire and Nave. a hospital consultant in There are elements of control in the John Loosemore built an organ for Intensive Care Medicine. making, and of surrender to chance in the Cathedral in 1665. Much of the Such an involved the firing. This keeps my interest alive present case is his work. As more pipes association with the human and challenges me to learn from failure have been added, the case has been form has influenced my work and this is as well as to rejoice in success. My expanded (from east to west) and reflected in detailed observation of both sculptures depict creatures, humans and raised twice. Panels carved by Laurence human and animal forms. Although my natural forms in a stylised way. They are Beckford were added to the south side work is mainly figurative it also includes fired either to stoneware or using the in 2014. The longest pipes, of the 32ft large botanical pieces. An example of Raku technique. This results in a stone- Contra Violone, stand in the South my bronze work is the Golden Eagle like crazed and pitted surface, which Transept. The organ needs a complete (11) in the Quire while there are two seems to fit well with the objects. overhaul approximately every 25 years. carnivorous plants made from copper Wader Bird (10), Horse Head (18), Over 4,000 pipes have to be cleaned wire in the Cloisters: Venus Flytrap (64) Horse and Rider (19), Boulder (20). and repaired. and Pitcher Plant (65).

12 DENSITY & LIGHTNESS – EXHIBITION GUIDE DENSITY & LIGHTNESS – EXHIBITION GUIDE 13 ELEPHANT MISERICORD (D)

Sometimes called a ‘mercy seat’, a misericord is a small wooden structure on the underside of a tip-up seat in a church which, when the seat is folded up, makes a slim shelf to support someone when standing for long periods of prayer. Of the Cathedral’s ANGELA HOLMES 50 misericords, 48 are believed to have been carved around 1255-70. This is one My exhibits reflect on the Cathedral’s of the earliest complete sets in the UK Astronomical Clock and the influence of and includes the earliest known wooden cosmic bodies. The 3 stone sculptures representation of an elephant in Britain. outside, Between Sun and Moon (66), embody complimentary qualities of Sun, Earth and Moon. While some are magnetised by the warmth and joy of the Sun, others are absorbed by the ANNE-MARIE MOSS shadowy, introspective moods of the BEV KNOWLDEN Moon. The healthy counterpoise is I came to sculpture after a career as a found in embracing both forces. My My art unravels portraits, captured and theatre and TV prop-maker in London. indoor pieces The Stillness Within (13), recreated with a porosity and fragility. Then I studied at the Frink School, When the World Goes Quiet (14) and The resulting works can be unsettling, where I learnt traditional methods of Protection (34) address these times haunting, beautiful but always sculpture. My inspiration comes from of unpredictable turbulence. Despite subtly peppered with personality. I everyday experiences to my love of outer destruction, we are challenged to gravitate towards theatricality and experimenting with new materials. My become pivots of calm, where our hearts experimentation, often provoking work is often emotive. A little about can remain as gentle oases within. naked bold compositions. The process: I work on several projects at four pieces I have selected for the a time to avoid getting stuck, aiming Cathedral, portray a range of emotions to keep the work fresh. Glimpsing from the whimsical nature of Flotsam out of the corner of my eye at all the (17), 5 Cheeky Chesters (49) and work around the studio, I find that it The Long Forgotten (50) to the is easier to resolve pieces. Angel (21), ongoing destruction of the orangutan Feelings of Joy (36), Affectionate (37), population in Slipping Away... (16). Impressions of Nature (44).

14 DENSITY & LIGHTNESS – EXHIBITION GUIDE DENSITY & LIGHTNESS – EXHIBITION GUIDE 15 MELANIE GUY

The process of working with resistant materials keeps my work fresh, expressing energy gleaned from the natural world and the human condition. Pewter has long EAGLE LECTERN (F) been a focus – it is a soft metal; it needs This carving is the earliest known gentle working. The example of an eagle lectern (a reading contours animate GLASS ALTAR desk). Some think that the eagle the subtle reflective GROUP (E) symbolises the mightiest bird that flies surface, like light on closest to Heaven. This lectern was constantly moving This set of three glass sculptures carved at the same time as the enormous water. A while back, I LUKE SHEPHERD comprises a blue cross on the altar and Bishop’s Throne, in the early 1300s, spent 3 years sailing non-symmetrical pieces in the niches under the watchful eye of the great around the Caribbean Crucible I and II (28, 29) are vessels of the Chapel of St George. The Altar Master Builder: Thomas of Witney. For - oh it was idyllic - quite unlike my commissioned bronze Group was commissioned in 2002 more than 170 years, it was in the parish plastic was rare and portrait sculptures. Fashioned from from Justin Knowles, who was born church of St Thomas in Exeter before never carelessly discarded! stoneware ceramic, they are weather- in Exeter. The sculptures were made recently returning to its original home. The memories, interpreted into pewter resistant. They are suitable for planting from cast cerulean optical glass by the In the 19th century, it was repaired and wall sculptures, are stimulated by those outside or leaving hollow. The simple Czech glass-maker Jan Frydrych. The additional feathers carved. Nonetheless, times, immersed in the elements and line of form, balanced by the textured word ‘cerulean’ comes from the Latin the eagle still shows much original detail, natural rhythms. Dawn Ripple (23), surface, gives an organic feel. The ‘caeruleum’, meaning “sky” or “heavens”. such as the head, legs and claws. The Remember Gaia (24), Monument to dark interior, balanced by the more The blue colour and translucent stand includes ‘nodding ogee arches’, Mother (25), Of Two Minds (26), decorated exterior, echoes an inner properties symbolise eternity. invented by Thomas of Witney. Ruby Wave Ribbon (27), Baleen (68). and outer landscape.

16 DENSITY & LIGHTNESS – EXHIBITION GUIDE DENSITY & LIGHTNESS – EXHIBITION GUIDE 17 UNFOLDING LOVE (G) PIPPA UNWIN LADY DODDERIDGE EFFIGY (H) This bronze sculpture, by Janis I specialise in figurative sculptures Ridley, was given to the Cathedral of birds and animals. Faithful Dog An effigy is a life-size sculptural by Richard van Oppen, a former (canis fidelis) (30) is inspired by the representation of a specific person. ANI BUCKLAND Mayor of Exeter, in memory of his loyal hound so often found at the Lady Dodderidge (d.1614) wears wife Annette. Janis writes “The feet of its recumbent stone master flowered brocade, finished with fine When, in 2005, I found a course in Clay eternal love of motherhood is at or mistress in church memorials. lace, beautifully carved and painted. She Figure Sculpture I was thrilled to join my the centre of the piece. Sculpture- Bishop Oldham’s Chantry has a holds a wreathed skull, a reminder of two artistic passions together: anatomy making always invites a dipping multitude of carved owls. Hugh mortality. The rather stiff pose, typical and ceramic modelling. Since then, into the water of the deeper self. Oldham was a patron of Education; of high-class effigies of this period, has I have studied life figure sculpture in Each piece bears fruit by the artist the owl is a symbol of Athena, a gravity-defying necklace and skirt. the Southwest and London. My pieces being unafraid to walk along the Greek goddess of Wisdom. There This is not a tomb. It is believed she is show something of the ‘Theatre of edge of the creative source. In this were empty pedestals, one each buried near the Lady Chapel altar. Born Life’. What am I experiencing now and work, the conflicting feelings I was side of the window, so it seemed Dorothy Bampfield, her first marriage how can I show it? The essence of my experiencing with my daughter, who fitting to give them owls.Eagle was to Edward Hancock (d. 1603). Later, passion is TOUCH. I use clay, wax and had returned to the home, became Owl (38) is carved in Serpentine she became the second wife of Sir plaster. It soothes, it responds, it bridges reconciled and transformed. In time, and Barn Owl (39) in Alabaster. John Dodderidge (1555-1628), judge between the outside world and myself. unresolved feelings about my own They stand above the altar, as if in in the Court of the King’s Bench. His Earth Mother (32), Hope Rides Eternal mother also melted away.” memory of Bishop Oldham. monument is next to hers. (35), Scapegoat (53), Crown (54).

18 DENSITY & LIGHTNESS – EXHIBITION GUIDE DENSITY & LIGHTNESS – EXHIBITION GUIDE 19 HETTY ANN LAYCOCK

My work is concerned with the nature of existence and the expression of appreciation. Everything is interconnected. Cocoons (46) is conditional upon this interconnection. An intricate intertwining of organic rhythms and devotion; each thought- ZOE SINGLETON form ‘becoming and unbecoming’, morphing into one another. This work As an artist interested in letter- experiments with solidifying playful cutting and relief-carving, my work intuition into bronze. A seamless here is inspired by The Exeter Book. interweaving of coincidence, wishful Acknowledged as one of only 4 great thinking, chance and interpretation. works of Anglo-Saxon poetry, it is held These biomorphic sculptures of in the Library of Exeter Cathedral and is intricate composition are rooted inscribed onto the UNESCO Memory of within experimentation. Like whispered the World Register. A translation of text conversations, these once cotton threads from the Exeter book, Gold Bright Sun have been given the space to articulate (43) echoes the daily ritual of sunrise the ultimate subtleties of nature. and sunset in a continuous form around the edge of this Bath stone bowl. DANIEL CORDELL NICOLA AXE Fair Weather Again Shall Come (70) also has words from the Book. Sit and My three sculptures depict views of My figurative work is an exploration wonder. Is this a message of hope and dwellings in developing economies. of human emotion, spirit and renewal or a climate change warning? Many of the feelings I express have consciousness. The hands in Eternal been gathered over years of visiting (40) are a celebration of the ceaseless, various cultures, particularly Morocco everlasting and endless connection of and South East Asia. When I carve love between two people. The carved groups of buildings, they evolve without torso Emergence (47) represents a plan. One just fits in with another, Mankind; the meaning of Emergence is echoing how settlements evolve over to “bring to light”. This involves a process time. Their huddling together creates a of change and transformation, with the tapestry of rooftops and leaves curious ability to bring about new behaviours alleyways. In the forms that emerge, and so express new properties. Into textures hint at the construction and Silence (69) is a peaceful carving of dark shadows punch deep into the an abstract head with an ammonite buildings. Just like the real homes that embedded in the forehead, representing inspired me, these sculptures are made the idea of withdrawing from the chatter from recycled materials. Fishing Village of the mind into the inner silence of (45), Looking Down on Shanty Town prayer and/or meditation. (61), Cityscape (62).

20 DENSITY & LIGHTNESS – EXHIBITION GUIDE DENSITY & LIGHTNESS – EXHIBITION GUIDE 21 MARIA MOORHOUSE

The powerful atmosphere of this cathedral setting affects my sculptures and their meaning, as my work focuses on the spiritual aspect of the living condition. Creation (Birth) (55), SAINT LAWRENCE ON Emergence (Growth) (56) and Sleep THE GRIDIRON (J) (Death) (57) represent how our life cycle can hold humankind together. I use This gruesome carving shows Saint symbolic metaphors to describe ideas: Lawrence, a Deacon in the early water, represented by undulating lines; Christian church in Rome, who was put earth, with roots representing strength; to death by Emperor Valerian in AD 258. and growth, as symbolised by clasped It was told that Lawrence was roasted hands in an upward pose. Having alive on a gridiron, though historians worked with stone my entire career, it now think this unlikely. The shocking feels appropriate to be sharing the space news of his martyrdom caused many with a building made of the same natural GREEN MAN (I) conversions to the new Christian faith. material, whose life cycle parallels my THE TESTAMENT This carving survives from the medieval own growth as a stone-carver. SCULPTURES (K) Look up! There are many images of church of St Mary Major, which stood the Green Man in the cathedral, often just west of the Cathedral. When that Following restoration of the Chapter found on bosses and corbels. Here is church was demolished, this carving House in 1969/70, Kenneth Carter was one of the largest concentrations in was re-set in an outside wall of the new commissioned to create 15 sculptures England. The Green Man has many church, until it was demolished in 1971. for the empty niches. Working to the associations, including Jack in the The site is marked by a metal cross set in theme of ‘Creation’, the sculptures on Green, John Barleycorn, the Life Spirit the grass outside the west front. the south wall take inspiration from the and the Lord of the Merry Greenwood. New Testament, and those on the north As the Spirit of Death and Resurrection, from the Old Testament. They progress this figure echoes the story of Christ. from darkness at the west end to light There are various types of Green Man, by the east window and the subjects all based on a head that disgorges refer to one another across the hall. branches or dissolves into leaves. In Ken modelled the sculptures in clay medieval art, the mouth was seen then cold cast them in aluminium resin, as the point of connection between reinforced with laminated glassfibre, for worlds. Perhaps the Green Man installation in 1974. He was awarded the symbolises our connection to nature? Leeds Gold Medal for these pieces.

22 DENSITY & LIGHTNESS – EXHIBITION GUIDE DENSITY & LIGHTNESS – EXHIBITION GUIDE 23 RICHARD BENT

I am a Silver Medal holder and Fellow of the Worshipful Company of Blacksmiths, an ancient livery company MIGUEL VALENTINI with origins dating back to 1299. I focus on hot-forging items using traditional My best loved sculptor is Mother Earth. blacksmithing craft techniques: by I see her creations daily, manifesting hammer and hand. Singing Tree (73) is in many ways. I live on Dartmoor, an experimental joint venture with Jan where she seems to have an ongoing O’Highway (pg 10), exploring strength permanent exhibition. Granite and fragility within the familiar form of protruding from her guts, taking the a tree. This vibrant sculpture has been most beautiful shapes, challenging created using a forged steel trunk and laws of equilibrium and composition. In branches, with fused glass abstract the forests, graceful, interacting trees leaves and flowers. The latter are resemble dancers contorting in full attached to the branches with springy flow. Nowadays I work mostly in wood stainless steel cable so that they can from fallen trees. Nature informs my respond to wind or vibrations. work. Even the theme of this exhibition, ST PETER (L) Density & Lightness, seems to find continuous, unforced expression in DAVID NEWMAN Stand outside the West Front of the nature. I hope that the simple pieces Cathedral and look up. Right up. At the that I present here, Form 1 (71) and I am interested in patterns in nature. An very top is a sculpture of Saint Peter, to Form 2 (75), makes you feel and example is phyllotaxis in sunflowers, whom this cathedral is dedicated. Simon perceive the complementary qualities where the lines seem to move in 3 Verity was commissioned to sculpt this of density and lightness. distinct directions. At this time of figure in 1984. Using local Beer stone, he unprecedented loss of species and completed the carving on site. St Peter is habitat, the patterns that I have made shown naked, as Christ would have seen in Phyllotaxis 1 and 2 (72, 74) are a him at first, as a fisherman on the Sea of reflection of the incredible designs seen Galilee. In one hand, he holds his fishing in nature, if we care to see them. I think net while the other holds the keys to the of my work as contemplative. I feel that gates of Heaven. Keys are the symbol of we should be more reverent towards the St Peter, as given to him by Christ. The natural world around us, and this is at symbol can be found in many places the core of my work. within the Cathedral.

24 DENSITY & LIGHTNESS – EXHIBITION GUIDE DENSITY & LIGHTNESS – EXHIBITION GUIDE 25 DESIGN: www.redcliffdesign.co.uk

WE EXIST to showcase the work of skilled sculptors practicing with diverse materials in Devon, Cornwall, Dorset and Somerset. Formed in 2000, we are an informal and supportive group, embracing both emerging and established artists with a passion for sculpting. Our members include internationally-known sculptors and those who have: • displayed at the Mall Gallery, London and the Royal Academy, London • exhibited at The Society of Portrait Sculptors’ annual exhibition • received commissions for public artworks from local hospitals and international universities • tutored at international conferences and workshops from Devon to Changzhou, China • been elected as Royal Academicians • regularly instructed plastic surgeons in 3-D language.

To contact South West Sculptors, or any of our individual members, to enquire about commissioning sculpture for private or public locations, please visit: www.swsculptors.co.uk