S D N A H

D N A

D SCULPTURE IN

A THE GARDEN HAROLD MARTIN

E BOTANIC GARDEN 27 JUNE TO

H 19 SEPTEMBER 2010 T R A E H Welcome from Professor Sir Robert Burgess

I am delighted to welcome you to and love for sailing which inspires this year’s Sculpture Exhibition; the his work; the sea, birds, fish and ninth that the University of the human form are all imagery Leicester has hosted in the that he combines into his metal magnificent surroundings of the sculptures. Harold Martin Botanic Garden. Established by the University in This year’s exhibition will provide 1947, the 16 acre garden provides a visitors with many hours of delight, fascinating habitat to many experience and inspiration and will significant plants. It is an certainly provide the opportunity inspirational outdoor space that is to engage with a wide range of an ideal location to site innovative high quality sculpture. It therefore and creative artworks and gives me great pleasure to educational events. The Garden welcome both artists and visitors also embraces the University once again to enjoy the event in philosophy of synergising teaching these attractive and well and research and its ongoing maintained gardens. commitment to inclusion and accessibility by providing Finally, I would like to thank the educational opportunities for curator, the exhibiting artists, researchers, students and the volunteers, and the many members general public. of University staff who have given so generously of their time to This year I am extremely pleased make this exhibition an enormous that the exhibition, entitled ‘Heart success. Head and Hands’ is again being curated by Dr John Sydney Carter, I do hope you enjoy this year’s FRBS. (Fellow of the Royal British Sculpture Exhibition. Society of Sculptors). Dr Carter is a prolific artist who works in many art media, including sculpture, painting and design. He is a native of Leicestershire and was trained at Gateway Technical Grammar School where his interest in art was developed before he started an Professor Sir Robert Burgess apprenticeship as an industrial Vice-Chancellor designer and finally entered University of Leicester Leicester College of Art to study art full time. John has a national and international reputation having had work commissioned and exhibited throughout the world. Front cover His sculptures reflect his passion Red Plus Black 2010 Painted steel John Sydney Carter FRBS

2 SCULPTURE IN THE GARDEN HAROLD MARTIN BOTANIC GARDEN 27 JUNE TO 19 SEPTEMBER 2010

3 4 Foreword Dr John Sydney Carter FRBS

The title of this exhibition is ‘Heart The Harold Martin Botanic Garden has Head and Hands’, simple metaphors hosted Sculpture in the Garden for for the main three areas in which inner nine years and is the perfect venue for creation works. The proportion or a National Sculpture Exhibition. This importance between each of them year there are sixty three sculptures by differs greatly in all artists’ work. In the forty one artists on show. individual artist there may even be the complete absence of one of these I would like to thank Professor Sir three areas, information from the Robert Burgess for supporting ‘Heart hands being an example. Head and Hands’ and I know it is appreciated by the many visitors who The infinite variety that has existed in come back year after year to view the the arts through the ages is the exhibition. reflection of the many possibilities of these three metaphoric areas. We are indebted to the gardeners for providing such a wonderful backdrop The ‘Heart Head and Hands’ is also a for our sculpture, once again art and means by which members of the nature can live in harmony. public who come to view the works of sculpture can make their own assessments of what is most apparent to them.

This year’s exhibition has been well supported by members of the Royal Society of Sculptors. Helaine Blumenfeld FRBS, who founded this annual show in 2001, will be exhibiting a bronze sculpture this year. There are also some new faces from Germany and the USA, showing a cross section of experimental, abstract and figurative work. ‘Heart Head and Hands’ will show the diversity, personal working styles and approaches of today’s sculptors.

 From left to right: Sheila Vollmer , Tower Line; Diane Maclean , Stranded Head, Stranded Heart

5 Tom Allan ARBS PAI

A sculptor for thirty years, mainly in stone and marble, Tom Allan studied at Glasgow School of Art and is currently working in Carrara, Italy and in Glasgow, Scotland. Contributing to the neglected tradition of stonecarving in his native Scotland. Allan has exhibited widely, organised Scotland’s first International Stone Sculpture Symposium, as well as teaching classes for both beginners and experienced artists.

Allan exhibits two sculptures in this show: ‘Elemental Head’, partly inspired by Mayan art and partly by the work of George Innes (1916 – 1970), a Scottish sculptor who worked out his own geometric style of stone-carving. The ‘Philosopher’ echoes prehistoric Cycladic sculpture. The marble is from Carrara, but is the rarer cloudy type, which the artist felt was more suitable for this piece.

“Stone sculpture is an expressive art, conveying ideas and feelings. My work unites hand carving with power tools, bringing modernity to an ancient art. I make sculptures on a domestic scale as well as large-scale commissions and public projects. I normally carve direct, with little preparatory drawing or maquette-making. The stone Elemental Head (illustrated) determines the form to some extent, 2010 but the design has to come from the Locharbriggs sandstone, granite and artist.” wood H130 x W30 x D30 cm

Philosopher 2010 Carrara Bardiglio marble, granite and tropical hardwood H135 x W30 x D30 cm

Website details: www.tom-allan.co.uk

6 Mary Anstee-Parry ARBS

Anstee-Parry is an educationalist, sculptor, letter-cutter and woodcarver who has exhibited nationally from the Minories, Colchester to The Royal British Society of Sculptors’ Summer Exhibition.

Anstee-Parry’s work is autobiographical and is a response to something she has seen or done. ‘Absence (of my Beloveds)’, carved in the style of African tribal carvings, has been inspired by her sons and is a memorial to their childhood. ‘Tattoo’ was a response to the sight of a mother duck with her ducklings coming into the artist’s garden. After feeding, they all disappeared into her feathers where they stayed for a while until tumbling out again – the ducklings have been inscribed and embedded onto the mother duck’s sculptural form. Anstee- Parry emphasises the watchful eye of the mother duck by highlighting it in gold-leaf.

“Sculpture and the making of it are never very far from my thoughts. I probably spend as much time thinking about it as I do carving. I like the act of carving because of the feeling that I never know quite where the sculpture will end – not quite being in control. In my work I develop an idea in a Absence (of my Beloveds) sketch book, and, then two or three (illustrated) years may pass before I feel that this 2005 sketch can translate into a valid Oak, ash and gold-leaf sculpture. I then find a piece of stone H150 x W50 x D50 cm which is big enough to take the idea and start carving, hoping with a wing Tattoo and a prayer, that I will be allowed to 2006 take from this stone the idea that is in Limestone and gold-leaf my head.” H50 x W50 x D50 cm

Website details: www.anstee-parry.com

7 Rosemary Barnett RAS

Rosemary Barnett was principal of the Sir Henry Doulton School of Sculpture and the founder of the Elisabeth Frink School of Sculpture, both in Stoke on Trent. Barnett has exhibited widely, as well as curating the Jerwood Sculpture Park in Worchestershire.

“The ‘Orator’ has the power to move thousands and change the course of history. This sculpture evokes the feeling of self possession, power and strength of ideas which are requirements of a good orator.

I began my sculpture career as a stone carver in my teens and have now returned to stone with great joy, having run the gamut of all the sculpture materials.”

Orator 2007 Creeton limestone H60 x W18 x D26 cm

8 Richard Baronio ARBS

Trained at Brown University, Providence, Rhode Island (1965) and graduating as a Bachelor of Arts in Art History, Baronio turned to sculpture. He attended the University of New Mexico, Albuquerque, New Mexico where he completed a Master of Fine Arts in Sculpture in 1969. Baronio has an international reputation exhibiting in many sculpture exhibitions throughout the world from China, New York, Japan and Dublin.

‘‘‘Bird Cry’ has gone through numerous changes in its development over the past several years. Parts were added, others cut away, then other parts added until it eventually arrived at its present form. What it was about eluded me until quite recently and even now I am not sure I understand it completely or if I ever will. I am used to working like this, not knowing quite what I am doing or why I am doing it. It is a practise that suits me.”

Bird Cry 2010 Welded stainless steel H338 x W91 x D91 cm

www.richardbaroniosculpture.com

9 Nicola Beattie

Nicola Beattie completed her foundation year at Exeter College of Art and Design, where she concentrated on painting, and in 1990 completed a BA Hons in Sculpture at Wimbledon School of Art and Design.

Beattie’s sculptures are inspired by the human figure and her stone carvings are the juxtaposition of forms and fluidity. In ‘Hold me Close’ she has carved the two figures as one to reinforce the idea of closeness and togetherness.

“When carving into stone I start by drawing with charcoal onto the surface and block out with a point and claw chisel and carve directly into the stone. As I remove material I keep replacing the charcoal marks to use as a guide. I then use smaller claw and flat chisels until the piece is finished. Then I take up to three weeks polishing with wet diamond studded sponges, rasps and files.

In cast pieces such as ‘Pod’ I tend to look to organic forms in nature for my inspiration and concentrate on the idea of growing. In ‘Pod’ I used a mixture of hay and clay over a metal and wire frame that I then cold cast in graphite. The piece comes up to a Hold me Close (illustrated) curving point to give it an upward 2008 movement from a fuller pod-like Portland stone form.” H49 x W20 x D15 cm

Pod 2009 Cold cast graphite H84 x W22 x D21 cm

Website details: www.nicolabeattie.com

10 Dr Helaine Blumenfeld PVPRBS FRBS

Helaine Blumenfeld studied sculpture in Paris with Ossip Zadkine. Her work has been shown in over 70 exhibitions worldwide, including, in the UK, at Kettle’s Yard, the Sainsbury Centre, Wimpole Hall, the Royal British Society of Sculptors and Robert Bowman Modern. She has executed numerous commissions for public and private settings ranging from the City of Coventry to the Universities of Cambridge and Leicester (most recently, ‘Shadow Figures: Dialogue’ in the David Wilson Library) and New York’s Lincoln Center. The recipient of an Honorary Doctorate of Letters from Leicester University and Clare Hall Cambridge’s President’s Award, she is a former adviser to the Arts Council and Vice President of the Royal British Society of Sculptors.

The model for the two-part sculpture in front of Leicester University’s Fielding Johnson Building, ‘Souls’ is “a statement of the way in which the corporal can be transformed by the spiritual. It is an attempt to show, through the very real material of bronze, something which is in fact metaphysical: the spiritual essence within our lives. The four ‘figures’ which make up the sculpture, though Souls separable, are a unit held together by 1990 something beyond the purely Bronze physical.” H1950 x W3048 x D2134 cm This work conveys Blumenfeld’s sense of the soul as something “beautiful, fragile and elusive.”

Website details: www.helaineblumenfeld.com

11 Claudia Borgna Bursary RBS

Claudia Borgna graduated from Genoa University in Foreign Literature in 1998 and received a Fine Art BA degree from London Metropolitan University in 2005. Since then she has been exhibiting nationally and internationally.

Her work entails the investigation of what she calls the “evolution of landscape”, a process started and effected by modern life-styles and consumerism. Her installations are the materialization of an ongoing observation and questioning of how the “plastic” and the natural realms interact with one another and thereby come to create new ephemeral orders. She mainly works with recycled plastic bags.

“I like to lure the viewers into a virtual lyrical extension of modern life that substitutes the idealized concept of nature and landscape with a romanticised modern one. By mimicking the cyclic and repetitive rhythm of nature, my artificial plastic landscapes explore the ongoing issues of transition, beauty and temporality, reflecting on the themes of environment, transformation, immediacy and on the values of our disposable and recyclable world. My Everything must go attempt is to unearth the tensions June 2010 between the contradictions of our Recycled plastic bags, cement base and sticks dangerously neurotic but also beautiful Site specific installation life, where the desire for creation and destruction exist side by side.”

Website details: www.claudiaborgna.keepfree.de

12 Ralph Brown RA

Ralph Brown was born in 1928 in Leeds and studied at Leeds College of Art, famous at the time for two of its former students, Henry Moore and Barbara Hepworth, and the Royal College of Art in London.

Scholarships followed: to Paris in 1951 to work in the studio of Ossip Zadkine and to Italy in 1954 to study Etruscan sculpture. He also worked for a period in Cannes making mosaic panels for Picasso.

During the fifties his work attracted much critical acclaim and was shown alongside his contemporaries Armitage, Turnbull and Paolozzi. In the 60’s his work became more figurative, concentrating on smooth, sensuous human forms. His sculpture is instantly arresting and sometimes shocking, its tactile surfaces pulsating with energy.

Brown was elected a Royal Academician in 1972. A major retrospective of his sculpture and drawings was held by the Henry Moore Centre for Sculpture in Leeds City Art Galleries in 1988. His work can be found in many public collections including the Arts Council of Great Britain, Bristol City Art Gallery, Leeds City Art Gallery, The Pomona National Museum of Wales and the 2007 Tate Gallery, London. Bronze Edition of 5 H98 x W125 x D62 cm

Website details: www.gallery-pangolin.com

13 Dr John Sydney Carter FRBS

“In my early days of creating sculpture, I purchased an old forge complete with tools, from a local blacksmith who was closing down. I have recently discovered that part of my family go back to 1650 when we were blacksmiths in a nearby Northamptonshire village which is probably why I have always enjoyed working with metal. In the seventies this led me to make a number of sculptures using found objects as inspiration with reference to the human form. In the past year I have returned to this early work as a new starting point and the three sculptures. ‘Joker’, ‘Knot’, ‘Red & Black’, three standing forms, is a progression from this period.”

Red Plus Black (left) Joker (right) 2010 2010 Painted steel Painted steel H122 x W61 x D41 cm H122 x W61 x D25 cm

Knot (centre) 2010 Painted steel H94 x W53 x D33 cm

Website details: www.johnsydneycarter.com

14 Peter Carter

Carter works with a combination of metals such as stainless steel, copper and brass, fabricating with Arc and MIG welding as well as modelling for bronze casting for outside locations. He also paints landscapes and life drawing using pastels and watercolour. Love is an ongoing theme in his stainless steel work. He has exhibited in Leicester, Birmingham and Bristol.

“I have always been involved with three dimensional designs and sculpture has been my main interest. ‘First Born’ is the third in a series of sculptures intending to portray the emotion between the sexes. The other pieces in the series being ‘First Love’ and ‘First Kiss’, are made from stainless steel. I try to balance my sculpture in both organic form and architectural structure. My figurative work depicts a wide range of both human and animal activity where I emphasise and exaggerate the power of movement.”

First Born 2009 Stainless steel H122 x W45 x D35 cm

15 Hilary Cartmel

Hilary Cartmel has worked in metals since she was at Art College in the late 1970s. Her work is figurative, focusing on two main themes: the human form and plants. Much of her work is made to commission for either public or private sites in urban or rural settings. Alongside the commissioned work she has made sculpture for her own pleasure, such as the sculpture ‘The Rhododendron’. As the title suggests it was growing in the grounds of Castle Howard in abundance, as the dock weeds grow plentifully in her garden. The scales of the two plants have been altered, but the rhododendron is life size, the dock somewhat larger, perhaps reflecting her relationship with weeds.

Hilary Carmel’s studio looks like a fabrication shop, equipped with metalwork tools, work bench and lifting gear, a forklift truck in the yard, and small heaps of materials waiting to be used. It’s a grubby noisy working environment.

“I often combine materials in a sculpture, using cast bronze together with stainless steel, adding cast glass or glass mosaic for colour. Some elements of my work are drawn up on CAD and sent out for laser cutting. Castle Howard Rhododendron and Weed The bronze work is cast in a local 2003 foundry and the cast glass at a local Steel hot glass studio.” H220 x W180 x D180 cm

Website details: www.hilarycartmel.co.uk

16 Terence Coventry

Born in 1938, Terence Coventry studied at Stourbridge School of Art and the Royal College.

Having farmed for many years, almost exiled on a Cornish cliff, Coventry is somewhat an outsider in the Art World. His sculpture exists in spite of any vagaries or trends in the Arts and is intensely personal, practical and unpretentious, honest and imbued with great integrity. Over the years his sculpture has developed into a mature, individual and confident language.

Like many practical people, Coventry eschews any romantic notions of being an artist. He relates to Walter Gropius’ definition of the artist being an exalted craftsman and as such, practises daily and sculpts what he knows. This familiarity enables him to take sculptural liberties, to distort, change or emphasise elements, like adding humour and playing with the chunky, hewn, cubistic language that has evolved to become his signature. Rooted in a strong figurative tradition, Coventry’s sculpture explores familiar animals such as birds, bulls, cows and boars. The human figure is another preoccupation to which he frequently returns producing images of great power and tenderness. Couple I (foreground) Vital Man (background) 2006 2009 He exhibits widely and regularly and Bronze Steel many of his sculptures are held in Edition of 5 Unique public and private collections both in H66 x W70 x D38 cm 243cm wide Britain and USA.

Couple II 2006 Bronze Edition of 5 H78 x W50 x D45 cm

Website details: www.gallery-pangolin.com

17 Stephanie Davies-Ara i ARBS

Artist Davies-Arai has worked as an adviser, lecturer and tutor and exhibiting her work widely both nationally and internationally as well as receiving commissions.

Davies-Arai works mainly in stone, carving directly from the block, using power tools to start, but mainly stone chisels and rasps as she can achieve a softer more ‘organic’ form when carving by hand. She starts with a basic idea of what she wants to create, and then works with the stone, finding a balance between imposing on the material and allowing the intrinsic qualities of the piece of stone to answer back.

“I explore different poses through constant drawing and when I find something that interests me it gets translated into sculpture, sometimes through small ‘sketches’ in wax or clay.

My interest is in the human form and its relation to organic forms, taking inspiration from landscape and the natural world, especially the South Downs. ‘Decorative Figure II’ was influenced directly by Matisse’s painting ‘Decorative Figure’. I liked the sculptural quality of the pose, and the formal possibilities it opened up as a Decorative Figure II three-dimensional sculpture. This is my 2008 most ‘open’ piece, where the space Portland stone between forms became as important H60 x W31 x D51 cm as the form itself. There is a repetition of diamond-shaped spaces which link the forms, and the simplification of form allows this to come into focus.”

Website details: www.stephaniedaviesarai.com

18 Stephen Duncan ARBS

Stephen Duncan is a practising sculptor working from studios in London and Wales with exhibitions, public commissions, installations and performance collaborations in the UK and Italy. His work ‘Leaf Memory’ was exhibited in the RBS exhibition at the Botanic Gardens in 2005.

‘Prophet’ is from a series of figure sculptures for public installations exploring the image of the prophet as both an image of youth and a being of knowledge and prophecy. Using casts from large acanthus leaves (a metre in size) to create body forms with analogies between plant and human anatomies, the leaves and their veining act as a ’skin’ or intermediary between interior and exterior worlds.

“I harvest these leaves from public parks and work in collaboration with the unique shape and veining of each leaf, a uniqueness connecting the sculptor with their evolution and genetic origin.

Begun in Rome while I held the Rome Award In Sculpture, ‘Gods’, ‘Angels’ and ‘Prophets’, ‘The Library Of Leaves’ and ‘Sacred Anatomies’ explore the figure, architecture and domestic objects as sacred or mythological images with themes of revelation and Prophet IV ‘The Augeries of the Brain and the Heart’ prophecy. With several permanent 2010 public commissions these sculptures Copper leaf, steel and polymer have been shown widely in the UK H190 x W65 x D30 cm and Italy (including cathedrals, urban streets and parks, the working platforms of Gloucester Road Underground Station) and won the Critics’ Prize at the Milan MIART. The installations and performance collaborations with dance companies were presented at the Heaven and Earth conference at Tate Modern.” Website details: www.rbs.org.uk

19 Wendy Earle ARBS

Wendy Earle has a studio in Wales and has exhibited throughout Wales and England.

In her sculptures, Wendy Earle’s faces mix fact and fiction. Their noses are roughly in the correct position but in keeping with masks in the British museum and Picasso’s work, other portions of these faces are altered and coloured to portray fear, humour and perhaps the super-natural. Earle lives and works in a wild and secluded valley in West Wales.

“I have always thought my work is best seen in the great outdoors. My sculptures are small in scale so they inhabit rather than impose themselves on the environment.

The ‘Sun’ is now lit up by organic growth that appeared mysteriously. In order to maintain the theme of natural development, ‘Moonlike’ and ‘Mask’ use lichen, bone and horn to weave into tangled patterns of hair.

I model birds, animal life and humans in clay and mud as well as constructing sculptural shelters for bats and birds in wood.

What I hope sparks in my work is a Mask (illustrated) Sun humorous sense of how odd it is to be 2001 2001 a being of any sort, whether animal, Fired clay, wire and mixed media Fired clay, wire and gold-leaf vegetable or mineral.” H40 x W50 x D3 cm H40 x W50 x D3 cm

Moonlike 2009 Fired clay, wire and mixed media H40 x W35 x D2 cm

Website details: www.axisweb.org

20 Joan Edlis ARBS

Joan Edlis graduated and practised as an industrial designer before engaging with land art and object-based sculpture merging with architectural form intending to re-engage viewers with the natural world. As a consequence Edlis’ work derives particularly from experience in the natural world, and she successfully distills that experience through her sophisticated use of materials. She possesses a sculptural sensibility that encodes what can be considered as pathways of experience, both in her process and in the way the viewer experiences the work, often echoed in the use of linear materials or forms.

“A thicket of black lines, straight and smooth, start in the grass, disappear within the tangle of a tree’s branches and then emerge above its green crown, visible against the sky as a delicate tracery. Like tall bamboo shoots before the leaves appear, these ambiguous lines pierce the arboreal form, neither overwhelming nor overwhelmed by surrounding nature. The dissecting lines weave in and out of the tree, a re-imagined crystalline structure, contrasting culture and nature in an immediate way.”

Black Lines in Tree 2010 Mixed media Site specific

Website details: www.joanedlis.com

21 John Farnham

John Farnham trained and worked as Henry Moore’s assistant from 1965 to 1986. He has exhibited his work in galleries and art institutions both nationally and internationally. Farnham has run workshops at Hertfordshire schools and in Leeds. He was artist in residence at a school in Bishop’s Stortford and a guest tutor at the University of Applied Arts in Vienna, Austria.

His public commissions include the Department of Environment for RAF Naphill, the Institute of Biology London, the Carborundum Company of Niagara Falls, and Bishop’s Stortford Collage. In addition his work is in private collections in the UK and abroad.

“My sculptures can be described as semi-abstract. The themes are mainly figurative but their depiction is determined by my mood, the material used and the idea I am trying to convey. Apart from figurative elements, mainly parts of the human body and animals, I get my inspiration from organic shapes, shadows and every-day objects.

When creating a sculpture I try to communicate a feeling of strength emanating from within the piece, Arrow Hand reaching out and drawing people to it. 2000 I like to make people want to touch it, Mild steel maybe receive the same feeling that I H125 x W87 x D46 cm experience when creating it.

‘Arrow Hand’ was one of a series of sculptures I did when I decided to work with mild and stainless steel. This one, like a lot of my bronzes and carvings, is based on hands and was influenced by my childhood experience of making my own bows and arrows.” Website details: www.johnfarnham.co.uk

22 Ken Ford ARCA

Ken Ford was born in Leicester in 1930 and studied at the Leicester College of Art. He then went to the Royal College of Art, London, where he obtained his ARCA with First Class Hons. In 1955 he was awarded the Prix de Rome for sculpture and spent two years working at the British School in Rome also travelling widely in Italy and Greece. He has exhibited both nationally and internationally.

“‘Albion’ was made in late 1980 and early 1981 and was first exhibited in the Royal Academy Summer Exhibition in 1981. For me it was a key work in that it brought together many of the elements I had been working on until then that concerned the use of landscape in sculpture.

The work is divided into three sections in which different states of the environment are shown; this is a framework I have subsequently often used in other sculptures. I named the sculpture Albion to evoke consciousness of the past as a preparation for the future.”

Albion: An Allegory of View 1981 Fibreglass and reinforced resin H62 x W175 x D53 cm

23 Miles Halpin ARBS

“With this work I was thinking about how one may infer something of the nature of things from the expression of their Being. Spiders cradle their nature gently, preciously, delicately: woven, pearly egg-sacks; fragile spindles of limbs; soft clinging gossamer. They prey the same.

We weave our Identity from the tangled web of our Nature. It is created, not found. The spideriness of spiderhood is the terror and beauty of Being.

Using steel bar has been a way of bringing my work closer to line-drawn sketches. The thread and weave of the bars echo my drawings. The lines of bars are like contours describing land. Or like the bars of a cage: ribs constraining hearts. Together they have a strength which individuals lack. The bar is cold-formed, bent entirely by hand.

I like the idea that the energy of the bending is locked into the work forever. This cannot be undone. I try to ensure no section of bar is left unbent, even if I bend it straight again.”

The Spideriness of Spiderhood 2009 Galvanised steel bar H195 x W180 D180 cm

Website details: www.mileshalpin.com

24 Anthony Hawken

Anthony Hawken studied at Medway College of Art and at the Royal Academy Schools in London. Hawken is a figurative sculptor working in a variety of media such as marble, stone and bronze. He has work in many private and public collections around the country: the British Museum, the Victoria and Albert Museum and the The Kelvingrove Gallery and Museum Glasgow. He has exhibited in many shows and has had one man shows at The Minories Art Gallery in Colchester, and The Royal Institute of British Architects in London.

Hawken is fascinated by the archaeology of ancient London. The influence is particularly evident in his sculpture ’Clash of Cultures’.

“This sculpture is a depiction of a fictional archaeological find of Roman and Celtic images welded together by mud, perhaps dug up from the Thames.”

Clash of Cultures 2002 Resin for bronze H122 x W73 x D45 cm

Website details: www.anthonyhawken.co.uk

25 Derek Howarth ARBS

Derek Howarth has a BA Hons in Sculpture and worked as an assistant to Henry Moore. Howarth has created large-scale work for film, theatre, television productions, shopping centres, public buildings and exhibitions. He is also a visiting lecturer to various art colleges across the country. His work is held in private collections in the UK and the USA.

“I prefer to work with expanded polystyrene, which being a light weight material is supplied in large block form. With the aid of profiles and templates a multitude of shapes can be cut and carved in a surprisingly short time. This enables one to ‘think in the medium’. I work direct to create small maquettes which can then be quickly enlarged using the grid system. This pace of working keeps the initial enthusiasm ‘alive’ and the whole project can be achieved retaining a stimulating freshness.

Ideas often develop out of the working process, so ‘going with the flow’ can produce fascinating rewards. I endeavour to create a studio ambience that may regularly stimulate the free flow of ideas without restraints or distractions. When it happens it’s a joyful day.” “Simply Spliffing” – A Spaced-Age Icon (illustrated) ‘The Curate’s Egg’, whilst retaining its 2010 essential egg shape silhouette, Fibreglass reinforced resin recognisable at a distance, is an optical H300 x W120 x D160 cm illusion; the sculpture has been cut out into three separate relief carvings to The Curates Egg place in the voids. The work draws 2010 upon the essences of African Fibreglass reinforced resin sculpture. H270 x W120 x D120 cm

26 Dilys Jackson ARBS

Dilys Jackson works in stone, wood and metal at the Butetown Artists’ Studios in Cardiff and at Berllanderi Sculpture Workshop near Raglan. Her bronzes and iron sculptures are cast locally in the UK and in Europe. She has worked and exhibited in Canada, America, Russia and a number of European countries. Her work is also held in many public and private collections.

“My work derives from my interest in the kinaesthetic relationship between the forms of the natural world and those of the human body. The work exhibited here derives from the mountains and rivers of Wales and is titled ‘Hiraeth’, which roughly translates as a heartfelt longing for the home and the home of the ancestors. The dimensions of its formal steel element are human in scale. The central cast iron flowing form echoes both the rivers flowing from the mountainsides and the haemoglobin that flows through our bodies.”

Hiraeth 2009/10 Steel and cast iron H210 x W41 x D31 cm

Website details: www.dilysjackson.co.uk

27 Margaret Lovell FRBS RWA DFA

Margaret Lovell trained at the West of England College of Art before going onto the Slade in London and at the Academy of Fine Art in Florence. She has exhibited across the UK, Europe and the USA and has many of her sculptures in private and public collections such as Arts Council of England, Compton Acres Gardens, Poole, Dorset and Plymouth City Art Gallery.

“Over a period of years, I have constantly returned to the subject of the head as an endless source of interest. I have worked on so many heads that I started calling them by the month. ‘Augustine Head’ aims to capture a character of being relaxed one side, in contrast with the other side which is more regal and sophisticated. Any ‘anatomical’ details have been omitted so that these features do not detract the ‘aura’ of the head. ‘Nova Head’ was based on the month of November. I thought of it in terms of the representation of the hair as a rather wild landscape, within the overall static tranquillity of the monolith. ‘Aurora’ was carved as the relationship of two individual forms, creating a quiet unity with each other.

I mainly work in plaster for bronze and Augustine Head (illustrated) Aurora I think in terms of landscapes and 1969 1972 movements of nature. Whilst I am Bronze Slate engaged in making sculpture I am in a H94 x W34 x D31cm H107 x W46 x D30 cm beautiful oblivion of peace. There may be some Bartók, Mahler or Prokofiev Nova Head in the background but I am not 2001 consciously aware of what I am doing Bronze or why. I just love doing it.” H175 x W60 x D50 cm

Website details: www.margaretlovell.co.uk

28 Diane Maclean FRBS

Diane Maclean is a sculptor and environmental artist who works predominantly in steel and stainless steel on a large scale. She has exhibited her work widely in the UK and around the world and many of her sculptures are in public and private collections.

“Two works, one very recent and one from a previous series come together in this exhibition, connected through their relationship with the human body as well as the materials of which they are made and method of construction. Both works evolved as drawings in space; drawings you can walk round and look into, using linear steel in place of pen and ink, the material curved into structures through which light can penetrate. The word ‘stranded’ in the titles indicates the isolation of the head and heart from the body and the emotions of human existence, while also referring to the strands of steel that form them.

Much of my work is made to exist in the open, a lot of it being commissioned public sculptures and installations made to withstand the rigours of weather and human intervention. I work with engineers to fabricate my sculpture and enjoy the Stranded Head (illustrated) processes.” 1986 Painted steel H140 x W215 x D135 cm

Stranded Heart 2010 Painted steel H150 x W130 x D120 cm

Website details: www.dianemaclean.co.uk

29 Charlotte Mayer FRBS

Charlotte Mayer was born in Prague in 1929 but moved to England in 1939, spending her childhood in Merseyside, the Lake District and Cumberland before finally settling in London. Mayer trained at Goldsmiths School of Art (1945-49) and at the Royal College of Art (1949-52).

“The three sculptures I exhibit in this year’s show are all made in stainless steel. This particular material is used because of its ability to catch natural light, even in the dullest of weather. Although steel is an industrial material, and my sculptures are not cast from molten metal, the form I have adopted for each sculpture is organic. ‘Kasta’ derives from the fruit of the horse chestnut, ‘Centrus‘ is inspired by the effect of the diminishing sun rays seen behind clouds. Thus, all my work is based on the observation of nature in all its variety.

My method of working is to decide on the final form by studying a number of small trial maquettes. I prefer this method to relying on drawings. For any steel sculptures these maquettes are made in thick cardboard. The three sculptures shown here were laser-cut in stainless steel plate and the parts joined together. Centrus (illustrated) Tree of Hope 2006 2007 In contrast, my bronze cast sculptures Stainless steel Stainless steel originate from small-scale wax H80 x W75 x D20 cm H78 x W45 x D45 cm maquettes. Once I have decided on the form to be adopted the full sized Kasta sculpture is made from wax modelled 2005 over a metal framework.” Stainless steel H57 x W70 x D55 cm

Website details: The Garden Gallery www.gardengallery.uk.com Gallery Pangolin www.gallery-pangolin.com Robert Bowman Modern www.robertbowman.com

30 Brian McCann ARBS

Brian McCann graduated with a BA Honours in Sculpture from Duncan Jordanstone College of Art, Dundee. He then undertook postgraduate study at the Royal College of Art in London where he was awarded an MA in Sculpture. After completing a Stanley Picker Fellowship at Kingston University in London he was awarded a two-year Prix de Rome Scholarship in Sculpture at the British School in Rome. McCann was the first Tate Gallery Fellow at Liverpool Tate and has exhibited both nationally and internationally. He has been a Senior Lecturer in Fine Art at Kingston University, London and is a regular visiting lecturer to the Royal Academy Schools and Royal College of Art Sculpture School in London and has also tutored at the SACI Academy in Florence, Italy.

“I have always worked with poetic ideas and a variety of materials in my sculpture. In addition modelling with clay has always been at the core of my practice combined with other materials. I also utilise clay to make moulds. Recently I have experimented with the bronze process in combination with diverse materials thereby informing and enriching a new series of sculptures. On Far Flung Empires of Rain (2) 2010 There is recognition of the hidden in Mixed media my practice. Drawing and sculpture in H35 x W170 x D40 cm some ways have a lot to do with what is visible and yet hidden. The poetic notion that there are more invisibilities to be attained seems to suggest that we can allow matter (the visible) to reveal the invisible. It is like being given a small piece of a large map. That recognition allows me to make the journey towards the marvellous.” Website details: www.brianmccannartist.com

31 John W Mills PPRBS ARCA FRSA

John W Mills studied at Hammersmith School of Art (1947-1954), and at the Royal College of Art 1(956-1960). He has exhibited widely across the UK and internationally.

“My work is modelled figurative and narrative sculptures that reflect my experiences and encounters with the world about me, be they physical, literary or just social whispers. Story communication and the element of surprise that goes with it are important to me.

The two resin sculptures exhibited in the show refer to my sport of ‘springboard diving’ and the notion of alluding to flight in a static medium.

‘Degas Dancing’ shows Degas arriving at his studio, his model ready to work, but Degas having breakfasted with a side order of absinthe perhaps, wanted only to dance, but coyly did so still in his outdoor clothing, having twirled he said thank you and left.

I work on a daily basis usually seven days a week, 9am – 7pm. Modelling clay to be cast first in resin then bronze is my preferred medium with occasional forays into terracotta. My work ranges from commissioned large Degas Dancing (illustrated) Disc Somersault with Tuck scale monumental work to small coins 2002 2010 and medals for the Royal Mint. Portrait Bronze Bonded marble for bronze sculpture is important for me because H170 x W 66 x D43 cm H167 x W33 x D168 cm of the challenge it imposes to make a sculpture that is not just a replica of Column Somersault with Tuck the subject. The qualities of bronze are 2010 constantly in my mind as I work being Bonded marble over timber the preferred final material.” H 246 x W482 x D76 cm

Website details: www.johnwmills.com

32 Nick Moran

Nick Moran studied at Hereford College of Art and Design in 1996 receiving a diploma in blacksmithing. On completion he was apprenticed to a blacksmith while attending Salisbury College of Traditional Blacksmithing where he received awards from the Worshipful Company of Blacksmiths. Moran opened his studio in London in 2005 and creates sculptural metalwork.

“My work is in response to emotional events and the physical world I encounter.

The sculpture ‘Embrace’ has a strong sense of form indicating a strong relationship, two figures merging into one, an intimacy between two people.

The slots in the piece allow the viewer to peer inside and see the complicated internal structure, sharing the intimacy of the piece and the intricate inner workings.

I like to work quickly and intuitively, the narrative emerging from the intensively worked steel and finely crafted shapes that create the formal elements.

Living and working in London I am Embrace fascinated by the tides and structure 2010 of the city and what lays beneath, the Steel with a galvanised finish tunnels and vents, pipes and cables. H200 x W50 x D70 cm A recent development in my practice is life drawing which has introduced a figurative element to my work.”

Website details: www.nickmoran.co.uk

33 Gudrun Nielsen MA FRBS

Gudrun Nielsen is a professional sculptress with MA in Art and Architecture and has worked as an artist in England since 1989.

She has exhibited both nationally and internationally and had a site specific sculpture at the Design Museum in London in 1992. In 1998 she was awarded first prize in the International Greenham Common Sculpture Competition.

Markús Thor Andrésson writes “The work of Gudrun Nielsen attempts to thwart people's routine sense for their surroundings. We project the identity of a place onto it, depending on recognition and experience. Nielsen contests this detached association of the known with the new. Drawing on geometry and reflecting on Japanese aesthetics, she develops ways to reinvigorate attentiveness. Her background studies in the relationship of art and architecture motivate her position for the sculpture, ‘Labyrinth’. She introduces a maze in the Botanic Garden, a structure that momentarily choreographs the viewer's movements and experience, diverting the focus points and resisting the notion of a full overview. A subtle moment of Labyrinth indeterminacy alerts our senses and 2010 gives way to a conscious engagement Wood, hessian and colour with the immediate environment.” H270 x W400 x D500 cm

Website details: www.gudrunnielsen.co.uk

34 Denis O’Connor MA

“The process of making sculpture defines an honesty of process, material, idea and expression. I work with the material of steel. It is made up in plate, solid, round, hollow square bar, tubular section and cast spheres. The properties it contains in terms of how it can be manipulated define how I make sculpture. It both defines and opens up what may be possible, but it needs my direction, a direction that comes from ‘what is inside me’. Working with particular motifs such as houses, chairs and ladders, I establish a set of rules that enable me to develop a visual narrative. I follow the properties of my working material and I let it surprise me and once I know I then start the process of how the work will be juxtaposed and constructed. Once I have physically pushed the material enough I stop. It is like questioning the material, a sort of conversation, working with its line, weight, volume and rigidity. I try to create sculpture which is part elevated, dynamic and risky. The work defines a visual language and how I communicate with the world around me. This is not a rehearsal, and this is for real.

The works have been made intuitively, working from drawings and notations; Barna Idyil they start to have a place in this world. 2009 The ‘making’ is central to how I work, Mild steel a sort of inner need to realize H400 x W100x D100cm something physical.”

Website details: www.sculptureworks.org

35 Austin J Orwin

Austin J Orwin has run a professional sculpture practice, based in Leicester for over 10 years. He works in a mix of sculptural materials including stone, wood, ceramic and cold-cast metal resins, and often uses carving techniques to release an envisioned form from a solid, inanimate raw material. He enjoys the intimate processes of both carving and modelling and takes great joy from the act of creating, often allowing the nature of the materials to come through in his finished work.

Alongside his own practice, he regularly teaches sculpture and printmaking, and has work in many private collections across the UK.

Orwin works with groups of elements, often symbolic, combining them in a relative way to create the look of a seemingly manufactured object with the essence of a hand-made piece. Often these forms will have an industrial reference and whilst mainly geometric in nature, have the underlying mark of the maker, giving them their own inherent character, warmth, life and history.

“My work considers the combination of components, the intersection of Tempered Form units and the resultant relationships 2010 depicted in these forms. The Iron resin physicality, visual weight and its H38 x W60 x D30 cm balance and composition are key factors. The work aims to be heavily laden with mass and solidity for its size.”

36 Rita Phillips

Rita Phillips shares a studio in Derbyshire where she teaches and works, teaching students basic stone carving techniques and the production of small scale works in stone and wood.

“Standing stones, Stonehenge or the representation of modern man in a primitive form. ‘Ancestor I’ is an interpretation of all of these. It is a response to the innate human condition. The surface designs echo those found in may ancient sculptures that have left a footprint in time.”

Ancestor I 2009 Bath stone H123 x W66 x D31 cm

37 Tony Roberts BA MBSC CITP

Tony Roberts works in glass, plaster, wood and ceramics and has exhibited his sculptures both nationally and internationally.

“I use many techniques to form my sculptures, sometimes working in wax, sometimes moulding by hand the sand beds of my kilns. Within these moulds I place glass and raw metals, then slowly fire, allowing the metals to fuse into and stain the fabric of the glass itself. The result is an organic, multi- layered form capable of withstanding a long life outdoors. Different metals create astonishingly different stains within the glass: silver creates yellow; copper creates red and green; brass makes a delicious turquoise; and bronze, a strong, warm black.

My work ‘Hands Up’ draws on my fascination with the objects that mankind has created from prehistoric times and have acquired meaning and purpose by passing generations. Standing stones, monoliths, and circles are examples of these, each bearing many histories. Glass as a medium allows me to reflect upon these histories: these glass sculptures will last millennia, with luck; and the very translucency of glass allows for the creation of layers of meanings and Hands Up stories. They are man-made, but thrust 2010 themselves up through the soil, Fused glass and metal organic, fingers and hands reaching Site specific for the sky.”

Website details www.tony-roberts.com

38 Irene Rogan

This new work ‘Primordium’ (from the ancient Latin word meaning ‘first beginning’ or ‘origin’) has been created specifically for this outdoor location and is inspired by botanists’ use of bamboo canes, labelling and the application of Latin for plant classification. The installation employs bamboo canes, each one labelled and containing text from The Bible, to identify and define a space that may be entered by the viewer. Additional labels and pencils will be available inviting viewers to add their words to the installation. These words will be collected, recorded and posted on the artist’s web site.

This piece forms an extension of long term concerns with the parallels to be found in human condition and architecture, the way in which humans adapt the landscape to suit individual and collective needs, both physical and spiritual. ‘Primordium’, as a site specific installation, particularly addresses issues of permanence and impermanence through the fragility of the materials and the temporary nature of its physical existence in this location. The juxtaposition of the spiritual text with the fragile structure of the installation explores the conflict between spiritual and temporal Primordium experience. 2010 Bamboo canes and labels Site specific

Website details: www.axisweb.org/artist/irenerogan

39 Brele Scholz

One could use the expression coined by Artaud “Theatre of cruelty”, in order to picture an exhibition of Brele Scholz’s figures as a theatre production on a stage, which requires neither text nor storyline. The actors display none of the attributes of contemporary civilisation; they are clearly characterized as inhabitants of a “wilderness” through their nakedness. Nevertheless, they are humans who have freed themselves from their earthly bonds, from the arboreal stranglehold. They move about, they lie down, stand, sit, walk, dance, and hang there.

These large figures require a certain kind of space and their movements determine this space. Whoever allows herself/himself to get involved with these movements and approaches them at close quarters, experiences the fierce struggle with the wood as a moving drama which tells of tyranny and submission, of aggression and tenderness.

“I am fascinated by the unpredictable things I encounter in the wood: rot, disease, growths, grain. I don’t use paint on my work, they live off their own characteristics, from the images and colours found within. None of my Study in Motion 5 (male figure) figures have perfect or ideal bodies; 2009 they have all been marked by life.” Wood (Robinia) H195 x W80 x D55 cm

Study in Motion 6 (female figure) 2009 Wood (Robinia) H190 x W55 x D55 cm

Website details: www.brelescholz.de

40 Jilly Sutton ARBS

Jilly Sutton works as a sculptor in her studio beside the River Dart. Her sculptures, figurative, and abstract, are usually carved from one huge piece of timber.

Working with the unpredictable nature of her chosen material is especially hard – but provides a constant challenge. The warmth, the surface texture and the predominantly grainy finish of the timber is all important to her.

Sutton’s recent exhibition with the Rebecca Hossack Gallery was an installation of Elm Trees inflicted by the fatal Dutch elm disease. Sutton has work in The National Portrait Gallery, London and many private collections around the world.

“I am essentially a wood carver, but most pieces are cast in bronze or resin. My sculptures are usually carved from one piece of timber, hollowed out to prevent splitting, sandblasted to bring out the grain and often whitewashed. My bronzes are often cast with a verdigris patination.”

Harle-queen (illustrated) Cast limestone on slate Casting taken from original wood carving done in 2005 H53 x W43 x D35 cm

The Ponderer Cold cast bronze verdigris on slate Casting taken from original wood carving done in 2001 H68 x W61 x D39 cm

Website details: www.jillysutton.com

41 Sheila Vollmer ARBS

“My sculptural work is primarily abstract with geometric shapes inspired by the natural, spiritual and constructed world. The materials and processes that I work with will vary from cast cement to rope installations, although steel, in particular, angle iron, has preoccupied me over many years. The undulating form of ‘Tower Line’ (nodding to Brancusi’s Endless Column), and the circular form of ‘Ring Line’ are both dependent on set systems of joined angles and lengths of the angle. The added colour in both works, accentuates the continuous line, drawing the eye inside and affecting the changing views and energy around the works.

Starting points and influences for my work have been ‘spaces’, ‘symbols’ (geometric and sacred), the human form or presence, as well as natural systems or energy – a shared experience of humanity. First and foremost the work has to be visually and physically exciting, enticing the eye and relating to the body. It follows then how our physical, visual and emotional selves relate and interact with these patterns, spaces, colours, forms and materials. The form of the works and the nature of the materials are interdependent.” Ring Line (illustrated) 2008 Zinc coated and painted steel H63 x W63 x D20 cm

Tower Line 2009 Galvanised and painted steel H235 x W46 x D46 cm

Website details: www.sheilavollmer.com

42 Bilhenry Walker

“’Synaptic Sinew V’ was built in 2007 for an exhibition of monumental sculptures at Art Rouge Gallery in Miami. It is the second in a series of four mono-pedular pieces I created in the last several years and harks back to the series of “Inuit” sculptures begun in the mid-nineties.

This sculpture is essentially a sculptural line drawing in space, rooted in the ground and extending to infinity. The tight configurations moving upward elevate the sculpture from being a mere armature to that of a solid muscular presence, flexing with controlled energy.

Within the sculpture can be seen three sets of open trapezoids which are allusions to synapses carrying the nerve impulses through our bodies. These help to promote an illusion of energy flowing into space.

The shape of the aluminum extrusion I use for the sculpture is proprietary. I developed this profile in order to create longer struts which wouldn’t bend under stress. In 1997 I developed extrusions to accommodate both monumental and table-top works. Whereas the end-plates are water-jet cut, I angle-cut the struts, grind them Synaptic Sinew V flat, drill and tap the holes, weld the 2007 plates to the struts, grind the welds, Powder-coated aluminum and send the struts to the powder- H338 x W120 x D122 cm coater for finishing.”

Website details: www.bilhenrygallery.com

43 Peter Walker ARBS

“My intention is to create unique and powerful artworks, based around a comfortable dichotomy, a desire to look in two directions, along the lines of traditional sculpture and to explore the themes of a personal subtractive outlook. Movement, structure and the translation of emotion underly an aim to develop a cohesive sculptural language. It is only with arduous and particular study and continual observation that we are able to create something individual. ‘Bull in Dynamic Form’ clearly demonstrates these aims; to take away and to leave just enough so that a powerful visual form is the result.

The majority of my artistic output is in the field of public art, and the development of large-scale artworks, primarily in bronze, but incorporating other materials. The full remit of my artistic output however covers numerous other disciplines. As such I work, as an artist should, free to develop, experiment and produce. I also develop large-scale art projects, and have recently set up an Arts Foundation in South Staffordshire to develop access to the visual arts in the region.”

Bull in Dynamic Form 2009/2010 Corten steel H140 x W50 x D100 cm

Website details: www.sculptorandartist.com

44 Jacek Wankowski ARBS

“The sculptures ‘Tsunami’ and ‘Tsunami 2’ belong to a body of work that explores the dynamic flow and force of the ocean’s waves, currents, tsunamis and storms and their interaction with marine geographic and geological features – reefs, coral, seashore archipelagos, seaweed forests, and deep water hydro- thermals. These works are significantly influenced by mythical and archaeological imagery, such as chimaeras and ancient megalithic structures. In these pieces, the sea is represented by the galvanized steel elements, awkwardly angled – the compressive force of the tsunami wave. The naturally patinated and oxidized corten steel elements (weathered by rain and sun) represent the reefs – the land at the edge of the sea.

As an ex-marine biologist, I am fascinated by the underwater world: the strange, fragile life forms and the forces of tide and current that surge around them. Made in steel, my sculptures range from large, outdoor pieces to smaller, intimate works – a play on scale, movement and anticipation, folding and unwrapping.

My steel is highly worked – cut, Tsunami (illustrated) shaped, welded, bolted; electroplated, 2008 galvanized, oxidized, patinated and Galvanised and corten steel relieved. It keeps to the industrial H150 x W300 x D65 cm nature of the work but is still recognizable as steel, retaining the Tsunami2 ‘grain’ and other marks of the making 2009 process. Pre-formed components are Galvanised steel and corten steel joined symbiotically, relating as H140 x W160 x D250 cm surfaces, individual entities and as parts of the whole.”

Website details: www.straylightstudio.com www.facebook.com/JacekWankowski

45 Olive Wootton ARBS ARCA

Olive Wootton studied at Goldsmiths College and then at the Royal College of Art under John Skeaping. She has exhibited with a number of societies and groups, and has had several one man shows, the last of which was ‘The Rime of the Ancient Mariner’. She enjoys undertaking commissions for the private individual where she feels that a sculpture made specifically for that person enhances life. Her home and studio are in rural Northamptonshire.

“I make a maquette of the subject in plasticine or in wax, on a wire frame. This maquette is of the initial idea and in scaling up and developing the work it may change dramatically as certain aspects of the subject are revealed. Sometimes the work is put into plaster and worked on with riffles and files to give a different appropriate surface effect. The bust of Daphne was the ninth work on that particular subject and is the distillation of my feelings. I am portraying her metamorphosis from soft flesh to the wood of the Laurel tree and her desperation at becoming imprisoned. Pan was not a subject that I came to naturally but it was one that I became involved with. Eventually I got great satisfaction from describing this rural god. Syrinx, daughter of Ladon, a river god was Metamorphosis of Daphne loved by Pan, but her father turned (illustrated) her into reeds to protect her. Pan 1990 pulled some of the reeds and made a Bronze musical instrument from them.” H66 x W56 x D 59 cm

Pipes of Pan 1999 Resin for bronze H127 x W71 x D51 cm Anticlockwise from left to right:  John W Mills , Column Somersault with Tuck, Degas Dancing; Website details: www.olivewootton.com Jilly Sutton , Harle-queen

46 47 Harold Martin Botanic Garden: Sculpture Locations

32 34 33 31 35 30 36 42 37 29 20 38 41 39 40

25 28 26 24 23 22 43 49 50 21 27 55 56 14 44 48 18 51 54 19 17 13 45 16 12 47 9 46 52 53 57 15 8 11 10 7 60 59 58 5 63 61 59 62 3 6 4 2 1

1 John Farnham 8 Olive Wootton 14 Tony Roberts 21 Olive Wootton Arrow Hand Metamorphosis of Daphne Hands Up Pipes of Pan 2 Nick Moran 9 Austin J Orwin 15 Irene Rogan 22 Stephanie Davies-Arai Embrace Tempered Form Primordium Decorative Figure II 3 Sheila Vollmer 10 Sheila Vollmer 16 Wendy Earle 23 Nicola Beattie Ring Line Tower Line Sun Pod 4 Diane Maclean 11 Miles Halpin 17 Wendy Earle 24 Rita Phillips Stranded Heart The Spideriness of Moonlike Ancestor I Spiderhood 5 Diane Maclean 18 Wendy Earle 25 Nicola Beattie Stranded Head 12 Brele Scholz Mask Hold me Close Study in Motion 5 6 Denis O’Connor 19 Anthony Hawken 26 Peter Carter Barna Idyil 13 Brele Scholz Clash of Cultures First Born Study in Motion 6 7 Margaret Lovell 20 Gudrun Nielsen Aurora Labyrinth

48 45 Margaret Lovell Augustine Head 46 Jilly Sutton Harle-queen 47 Tom Allan Elemental Head 48 Margaret Lovell Nova Head 49 Rosemary Barnett Orator 50 Mary Anstee-Parry Absence (of my Beloveds) 51 John W Mills Degas Dancing 52 Joan Edlis Black Lines in Trees 53 Derek Howarth “Simply Spliffing” – A Spaced-Age Icon 54 John W Mills Column Somersault with Tuck 55 John W Mills Disc Somersault with Tuck 36 Charlotte Mayer 56 Jacek Wankowski Tree of Hope Tsunami2 37 Dr John Sydney Carter 57 Derek Howarth Red Plus Black The Curates Egg 38 Dr John Sydney Carter 58 Richard Baronio Knot Bird Cry 39 Dr John Sydney Carter 59 Claudia Borgna Joker Everything must go 27 Brian McCann 31 Ralph Brown 40 Dr Helaine Blumenfeld 60 Stephen Duncan On Far Flung Empires of Rain Pomona Souls Prophet IV 'The Augeries of (2) 32 Ken Ford 41 Terence Coventry the Brain and the Heart' 28 Mary Anstee-Parry Albion: An Allegory of View Couple I 61 Tom Allan Tattoo 33 Peter Walker 42 Bilhenry Walker Philosopher 29 Jacek Wankowski Bull in Dynamic Form Synaptic Sinew V 62 Hilary Cartmel Tsunami 34 Charlotte Mayer 43 Jilly Sutton Castle Howard 30 Terence Coventry Kasta The Ponderer Rhododendron and Weed Vital Man 35 Charlotte Mayer 44 Terence Coventry 63 Dilys Jackson Centrus Couple II Hiraeth

49 Embrace Arts at not join us and discover for Acknowledgements the RA centre yourself the very many pleasures to be experienced at our centre? Many thanks to all the participating artists without whom As the University of Leicester’s arts Michaela Butter this exhibition would not have centre, Embrace Arts offers Acting Director been possible. A special thank you opportunities for everyone to enjoy goes to all the University of and participate in a wide variety of Stella Couloutbanis Leicester staff who have given so art forms, without barriers and in Visual Arts Manager generously of their time, skills, ways that challenge and inspire. expertise and knowledge in the Our key values are to be For more information contact management and production of welcoming, inclusive, vibrant, and Embrace Arts on Leicester this sculpture exhibition. creative. This is why we are (0116) 252 2455 or delighted to be involved with this [email protected] or visit Particular thanks to sculpture project which so www.embracearts.co.uk Gail Atkinson, Project Manager, demonstrably reflects our mission Estates and Facilities Management and values. Division Embrace Arts offers an extensive Brian Arnold, Manager, and the range of creative learning University of Botanic Garden gardeners, opportunities in the arts which are Leicester Botanic Horticultural Services ideal for anyone looking to develop Angela Chorley, Design Services their skills in an enjoyable way Garden without too much commitment. Its Dr Richard Gornall and the short courses cover a wide variety The Botanic Garden and its satellite education team at the Botanic of creative subjects, from painting, Attenborough Arboretum play an Garden drawing and sculpture, to guitar important role in education and The team at Embrace Arts at the playing, literature, singing, jazz and scientific research. Schools, colleges RA centre dance. There is also a range of and youth groups are the main evening talks and one-off audiences for the wide variety of Press & Corporate Communications workshops. educational programmes, and the Print Services focus is on environmental and Alongside its many learning development issues, aiming to Special thanks to opportunities, Embrace Arts also bring a global perspective to the presents a varied programme of National Curriculum in an Dr John Sydney Carter FRBS quality classical music concerts, innovative and inspiring way. CPD Pangolin and their staff, Jane Buck comedy and drama performances, days for teachers and youth leaders and Claude Koenig jazz and world music sessions, a are also organised. In addition, vibrant art exhibition programme, there is a small but developing Dr Magnus Gestsson MA PhD and special events for children. range of courses for adults. Hargrave Design Contact the Garden: Embrace Arts is housed in the [email protected]; Stella Couloutbanis, Project Richard Attenborough centre, an (0116) 271 2933 if you are Coordinator & Visual Arts Manager, award-winning, purpose built, interested in booking an activity or Embrace Arts animated place for the arts, and want to know more. The scientific education. It houses a 180-seat research conducted at the garden performance space, art studios, focuses mainly on plant exhibition gallery and a bright development and plant evolution, foyer space for people to engage but it also currently underpins with the arts as audiences, work by zoologists, performers and learners. So why neurophysiologists and chemists.

50 Glossary of Terms Further Index

ARCA ...... Associate of the Royal information Tom Allan ARBS PAI 6 College of Art Mary Anstee-Parry ARBS 7 For further information about ARBS ...... Associate of the Royal Rosemary Barnett RAS 8 purchasing the sculptures Society of British Richard Baronio ARBS 9 please contact: Sculptors Nicola Beattie 10 BA (HONS) ..Bachelor of Arts Honours Stella Couloutbanis Dr Helaine Blumenfield PVPRBS FRBS 11 degree Visual Arts Manager Claudia Borgna (Bursary RBS) 12 Embrace Arts CITP ...... Chartered Engineer Ralph Brown RA 13 Richard Attenborough centre Dr John Sydney Carter FRBS 14 DFA ...... Diploma in Fine Arts Lancaster Road Leicester Peter Carter 15 FRSA ...... Fellow of the Royal LE1 7HA Hilary Cartmel 16 Society of Arts Terence Coventry 17 FRBS ...... Fellow of the Royal p: 0116 252 2455 Stephanie Davies-Arai ARBS 18 Society of British Stephen Duncan ARBS 19 Sculptors e: [email protected] Wendy Earle ARBS 20 MA ...... Master of Arts Joan Edlis ARBS 21 MBSC ...... Member British John Farnham 22 Computer Society Ken Ford ARCA 23 PAI ...... Diploma of Paisley Art Miles Halpin ARBS 24 Institute Anthony Hawken 25 PPRSA ...... Past President Royal Derek Howarth ARBS 26 Society of British Dilys Jackson ARBS 27 Sculptors Margaret Lovell FRBS RWA DFA 28 PVPRBS ....Past Vice President Royal Diane Maclean FRBS 29 Society of British Charlotte Mayer FRBS 30 Sculptors Brian McCann ARBS 31 RWA ...... Royal West of England John W Mills PPRBS ARCA FRSA 32 Academy Nick Moran 33 RA ...... Royal Academy Gudrun Nielsen MA FRBS 34 RAS ...... Royal Academy Schools Denis O’Connor 35 Austin J Orwin 36 RBS ...... Royal Society of British Sculptors Rita Phillips 37 Tony Roberts BA MBSC CITP 38 Irene Rogan 39 Brele Scholz 40 Jilly Sutton BA ARBS 41 Sheila Vollmer ARBS 42 Bilhenry Walker 43 Peter Walker ARBS 44 Jacek Wankowski ARBS 45 Olive Wootton ARBS ARCA 46

51 Charlotte Mayer: Tree of Hope (left); Centrus (centre); Kasta (right)

© University of Leicester Leicester LE1 7RH This was printed by Print Services, University of Leicester UK using vegetable based inks on FSC certified stock www.le.ac.uk

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