Life in Bronze 2016

2016

1 “Its one thing to push your fingers into soft clay but quite another to cast that finger print permanently into bronze.”

2 Hamish Mackie

Foreword by Emma CricHton-Miller Critic/Arts writer for the Financial Times and Apollo Magazine

One of the oldest artefacts in the world is a carving of an balance of tension and softness. Whether working at the scale animal. 40,000 years ago at the very dawn of modern human of a determined dung beetle, or a hare twisted round upon itself consciousness, the Lion Man of Ulm was carved with flint to see what comes behind, or a roe deer listening, whole body tools. Its creator chose to depict a fellow creature, signalling taut, its ears, like radar dishes, straining to catch a sound, or at humanity’s intimacy with the animal kingdom. Hamish Mackie the more than life-size of his most recent horse sculptures, He is a contemporary sculptor, working in clay and casting in invests each creature with its own eager personality. Far from bronze and silver, who has remained true to this consistent tame trophies to decorate a drawing room, Mackie’s sculptures thread of artistic inspiration. have a thrilling dynamism and a powerful sense of impending action that comes from his expressive handling. Whilst newspaper headlines draw attention to the most spectacular and avant garde art, it is important to remember Travelling in pursuit of animals in their natural habitat has that what the French, during Rodin’s era in the nineteenth become part and parcel of Mackie’s practice. To Australia, century called “animalier” sculpture, represented by such Africa, the Middle East, Russia and, most recently to India. outstanding artists as Antoine-Louis Barye, Christophe Fratin With his camera and specially adapted studio box, he travels, or Rembrandt Bugatti, remains a thriving contemporary observing, sculpting and recording as much information about tradition. There are galleries specialised in the genre, and his subjects as possible. Back home in his studio in Oxfordshire, animalier bronzes feature at leading international art fairs such he works from these models and detailed photographs to as Frieze Masters, Masterpiece and TEFAF. Above all, there are conjure his creatures, which are then cast in bronze or silver a small number of fine contemporary sculptors who are moved by his long-term collaborator, Simon Allison, at Lockbund to create works that not only capture the outward appearance Sculpture Foundry. The two men have worked together over of the animals they depict, but summon and express the spirit twenty years, perfecting the laborious process of casting to of life within them, which also runs through us. Mackie’s work ensure that every thumb mark or fragile feather is preserved. represents the top echelon of that contemporary tradition, appealing to collectors who admire his skill and share his Winning the commission from the Berkley Group in 2013 for passionate sympathy for living creatures. a monumental sculpture in Goodman’s Fields has, in addition, enabled Mackie to extend his scale dramatically, while also It is the vital energy, divined through empathy and enabling him to tackle the archetypal subject of the horse. The communicated through the tactile process of modelling and the six life-and-a-quarter-sized horses, based upon six different transformative alchemy of lost-wax casting, reinforced by the breeds which might have grazed the original Mr Goodman’s subtle painterly process of patination, that marks out Mackie’s fields, bring an anarchic energy to this carefully landscaped sculptures. His deep understanding, too, of the underlying new public square, a flash of the wild to the inner city. anatomy and movement of his subject earned through years of close study and analysis in the field, has given him the There is no lack of inspiration. Observing his subjects in confidence to become increasingly gestural in his work. With their native habitat, and translating their unique character the musculature and murderous intent of a cheetah or tiger and movement into tactile bronze is an impulse that Mackie evoked with bold strips of clay, gouged or flattened, the marks has running through his blood, echoing back to our earliest of his fingers still there, the whole composition has a thrilling ancestors.

FRONT AND BACK COVER Goodman’s Andalusian Stallion Bronze, Signed Hamish Mackie, Numbered edition of 6, Dated 2014, 360cm long x 370cm high x 200cm wide.

3 A MONUMENTAL PUBLIC COMMISSION GOODMAN’s FIELDS HORSES

Arts Curator Nancy Minshull-Beech explains why Hamish Mackie was perfect for this monumental public commission

Berkeley Group and Murdoch Wickham Landscape Architects asked me to find an artist capable of creating a world-class public sculpture. With the site being historically used as a livery, Berkeley Homes at Goodman’s Fields wanted a group of horses galloping through fountains in a new public piazza... and they wanted bronze in 1.25 life size. This would be an unprecedented modern British equestrian sculpture and would require an exceptional artist.

Hamish Mackie is a wildlife sculptor working directly from the animals themselves studied intently on field trips. What I recognised in his work was a visceral and emotional connection between the animals, Hamish and the clay. He models rapidly, full size. It is this skill, his observational powers with wildlife and his ability to give life to his sculpture that make Hamish Mackie’s work exceptional. It was his ability to breathe life into his work that was recognised by the directors of Berkeley Homes on a visit to his workshops, where one executive thought there was a living animal in his office. CREATING THE ARMATURE

Hamish also understands people and business. His ability to work across the board with the architects, designers and “Once I have a vision of the sculpture builders involved with the project, to understand the project logistics, his flexibility and problem solving skills make him in my head, the first step is to make an exceptional public artist. His enthusiasm for his work and the armature which supports the his boundless energy are a source of inspiration for everyone tonnage of clay required. I make who worked on this project with him. my armatures so they articulate on Berkeley Homes wanted to see historical London’s working the joints. This allows the work to horses in their free and unbridled form, the power of evolve and manifest very naturally. commerce, the strength of a nation and the nobility of the It’s not about the technicalities of horses that were essential to London as a centre of trade. Hamish Mackie has achieved this and more. model making but creating my own interpretation of the subject.” Nancy Minshull-Beech – MB Arts Management.

49 Mould Making

“Bronze sculptures don’t happen over night - it’s a journey that begins with the faithful translation of the subject modelled in clay and depends entirely on the symbiotic relationship you develop with the foundry.”

LOST WAX CASTING AT LOCKBUND FOUNDRY

The Goodman’s Fields bronzes were all cast at Lockbund Foundry using the age-old lost wax casting method that Mackie uses for his wildlife sculptures. This allows an extraordinary depth of detail to be retained and translated from clay model through to a finished bronze sculpture.

5 LANDSCAPE ARCHITECTS MURDOCH WICKHAM SET THE SCENE

Creating a landscape to accommodate these monumental bronze The successful delivery of Mackie’s ‘Galloping Horses’ was horses required great sensitivity and collaboration. “This land has made possible with the collaborative work between a multi- horses in its DNA and we wanted to highlight this.” John Murdoch disciplined team including the water feature specialists, of Murdoch Wickham. Ustigate, Hamish, Elite Landscapes and Murdoch Wickham. “Much of our time was spent doing the research and development Murdoch designed the central Piazza to have a vital and dynamic of the fountains and lighting in testing tanks to ensure that the flow. Mackie’s horses animate the space so pedestrians can embrace effect of galloping horses through water was credible and as life the spirit of the horses moving through the public realm. like as possible.” John Murdoch.

6 Facts

1.5 km of armature steel (ranging from 6mm round to 50mm box section)

6.5 tonnes of clay – in six months, compared to my average of 250kg per year!

1.2 tonnes of silicon rubber (1.2 million finger fulls applied over seven months by three people)

300 meters of wax seam lines reworked

6 tonnes of bronze 4 tones of oil/gas

2.4 tonnes of ceramic shell

8 tonnes of grog plaster core

0.5 tonnes of internal stainless steel

75kg of welding rod

Tony Pidgley – Chairman, Berkeley Group Berkeley’s philosophy is about creating communities and places where people want to live, work and play. Goodman’s Fields presented an excellent opportunity to create not only a new environment that celebrates the history of the site, but parks that people can use and enjoy. Berkeley’s vision for Goodman’s Fields was a Piazza that would stay in people’s memories for years to come, and at the same time create a locality that reflects the heritage of this great site. We held a competition and we loved Hamish’s enthusiasm. The concept of the bolting horses won the design competition from a field of 40 sculptors – a fantastic achievement. Hamish - your vision, your energy, your passion – these are the reasons why we awarded you the commission.

7 A VISION OF SIX GALLOPING HORSES …having escaped from their livery stables, six horses stampede through the streets of London. Careering through crowds of pedestrians they are finally brought to a halt by the traffic flow on Leman Street….

8 9 1 2

1 Goodman’s Andalusian 2 Goodman’s Arab Stallion 2015 3 Goodman’s 2 Horses Stallion 2015 1:18 Scale Running Together 2015 1:18 Scale Bronze, Signed Hamish Mackie, 1:18 Scale Bronze, Signed Hamish Mackie Numbered edition of 50 Bronze, Signed Hamish Mackie, Numbered edition of 50 Dated 2015 Numbered edition of 50 Dated 2015 14cm long x 16cm high x 7cm wide. Dated 2015 18cm long x 18cm high x 9cm wide. 19cm long x 10cm high x 9cm wide.

10 These sculptures have been produced from scans of the original clay full size sculptures and are exact scale models of the Goodman’s Fields horses.

4 Goodman’s Mare 2015 5 Goodman’s Irish Cob in Water 2015 1:18 Scale 1:18 Scale Bronze, Signed Hamish Mackie Bronze, Signed Hamish Mackie Numbered edition of 50 Numbered edition of 50 Dated 2015 Dated 2015 15cm long x 14cm high x 5cm wide. 18cm long x 7cm high x 5cm wide.

11 1

2 3

1 Goodman’s 2 Horses 2 Goodman’s Mare 2014 3 Goodman’s Irish Cob Running Together 2014 1:7 Scale in Water 2014 1:7 Scale Bronze, Signed Hamish Mackie 1:7 Scale Bronze, Signed Hamish Mackie Numbered edition of 12 Bronze, Signed Hamish Mackie Numbered edition of 12 Dated 2014 Numbered edition of 12 Dated 2014 51cm long x 37cm high x 18cm wide. Dated 2014 55cm long x 31cm high x 27cm wide. 58cm long x 21cm high x 14cm wide.

12 4

5 “When I finished the horses I decided to give myself the reverse challenge and created a tiny mole. It was interesting to see how I had developed and what I could achieve at this scale. It was the start of a new body of work in preparation for my 2016 solo show LIFE IN BRONZE.”

4 Goodman’s 5 Goodman’s Arab Stallion 2014 6 Mole 2014 Andalusian Stallion 2014 1:7 Scale Silver, Signed Hamish Mackie 1:7 Scale Bronze, Signed Hamish Mackie Numbered edition of 6 Bronze, Signed Hamish Mackie Numbered edition of 12 Dated 2014 Numbered edition of 12 Dated 2014 14.5cm long x 6.5cm high x 15cm wide. Dated 2014 40cm long x 50cm high x 23cm wide. 48cm long x 46cm high x 23cm wide.

13 THE JOURNEY BEGINS Field trips are a fundamental part of Mackie’s artistic development – seeing wild animals in their natural habitat informs a deeper understanding, translated in his instinctive and gestural style. In the lead up to LIFE IN BRONZE Mackie has seized every opportunity to travel worldwide. This epic journey began with an invitation to Belgium and the opportunity to get up close and personal with wild boar.

2 3

1 Wild Boar Dart 2014 2 Wild Boar Itch 2014 3 Wild Boar Bolt 2014 4 Wild Boar Life Size 2010 Bronze, Signed Hamish Mackie Bronze, Signed Hamish Mackie Bronze, Signed Hamish Mackie Bronze, Signed Hamish Mackie Numbered edition of 12 Numbered edition of 12 Numbered edition of 12 Numbered edition of 12 Dated 2014 Dated 2014 Dated 2014 Dated 2010 61cm long x 33cm high 38cm long x 24cm high 37cm long x 29cm high 173cm long x 106cm x 22cm wide. x 32cm wide. x 18cm wide. high x 46cm wide. Including detachable steel plinth.

14 “Wild boar prefer to spend most of the day hiding in thick conifers, making them a hard subject to photograph - but I regularly heard and had fleeting glimpses of them through the trees. On one day a family of four bolted from under a low canopy no more than a few meters in front of me. I’m not sure who was more surprised! Spending time in their habitat is a valuable learning experience, reading their ways by different spore. It required me to tune into my sixth sense. In one area which had been partly forested the tree stumps had become perfect itching posts – inspirational!”

15 “You should be able to look a wildlife sculpture in the eye and see life!”

1 2

3 4

1 Otter Island 2014 2 Otter Fish 3 Otter Mother 4 Little Owl Taking Off 2013 Bronze, Signed Hamish Mackie Take-Away 2013 and Cubs 2013 Bronze, Signed Hamish Mackie Numbered edition of 12 Bronze, Signed Hamish Mackie Bronze, Signed Hamish Mackie Numbered edition of 12 Dated 2014 Numbered edition of 25 Numbered edition of 12 Dated 2013 56cm long x 45cm high Dated 2013 Dated 2013 44cm long x 38cm high x 40cm wide. 23cm long x 13cm high 24cm long x 34cm high x 36cm wide. x 12cm wide. x 16cm wide.

17 1

2 3

1 Robin 2015 2 Owl Ring 3 Grouse left & right 2013 4 Grouse 2016 Bronze, Signed Hamish Mackie 18crt. Gold Bronze, Signed Hamish Mackie Bronze, Signed Hamish Mackie Numbered edition of 12 made to size. Numbered edition of 12 Numbered edition of 12 Dated 2015 Dated 2013 Dated 2016 14cm long x 34cm high 32cm long x 78cm high 35cm long x 77cm high x 8cm wide. x 34cm wide. x 23cm wide.

18 “Birds require a different approach. I first make an aluminium wing and usually work in plasticine because the feathers are so thin. It’s about interpreting feather pattern through texture.”

19 1

1 Woodcock Rising 2013 2 English Partridge 2011 Bronze, Signed Hamish Mackie Hallmarked Silver, Signed Hamish Mackie Numbered edition of 12 Numbered edition of 3 Dated 2013 Dated 2011 52cm long x 66cm high x 37cm wide. 70cm long x 89cm high x 53cm wide.

20 2 “I was inspired to create these after watching a Highland stag rounding up his hinds during the Autumn rut.”

1 Red Deer Stag 2012 2 Red Deer Hind 2012 3 Roe Buck Head 2012 Bronze, Signed Hamish Mackie Bronze, Signed Hamish Mackie Bronze, Signed Hamish Mackie Numbered edition of 12 Numbered edition of 12 Numbered edition of 12 Dated 2012 Dated 2012 Dated 2015 42cm long x 58cm high x 23cm wide. 35cm long x 40cm high x 20cm wide. 21cm long x 61cm high x 24cm wide.

22 3 24 25 More recently Mackie has started to use trail cameras to capture research shots of wildlife. This allows him to witness moments that would rarely be seen by the human eye.

26 2

3 4

1 Roe Doe 2015 2 Roe Doe Fawn 3 Roe Buck Fawn 4 Roe Buck 2015 Bronze, Signed Hamish Mackie Sitting 2015 Standing 2015 Bronze, Signed Hamish Mackie Numbered edition of 12 Bronze, Signed Hamish Mackie Bronze, Signed Hamish Mackie Numbered edition of 12 Dated 2015 Numbered edition of 12 Numbered edition of 12 Dated 2015 106cm long x 70cm high x 37cm wide. Dated 2015 Dated 2015 93cm long x 106cm high x 53cm wide. 51cm long x 50cm high x 34cm wide. 83cm long x 87cm high x 28cm wide.

27 “Having grown up on a farm, livestock are a major source of inspiration.”

28 2

3 4

1 Cotswold Ram 2015 2 Aberdeen Angus Bull 3 Bull BUCKING 2012 4 Bull CHARGING Bronze, Signed Hamish Mackie 2013 Bronze, Signed Hamish Mackie HEAD DOWN 2012 Numbered edition of 12 Bronze, Signed Hamish Mackie Numbered Edition of 12 Bronze, Signed Hamish Mackie Dated 2015 Numbered Edition of 12 Dated 2012 Numbered Edition of 12 43cm long x 55cm high Dated 2013 36cm long x 45cm high Dated 2012 x 35cm wide. 50cm long x 28cm high x 16cm wide. 45cm long x 26cm high x 19cm wide. x 22cm wide.

29 This sculpture can be separated from the steel plinth to allow for site specific installation. 1 “I have sculpted hares, over the years, as a benchmark to see how my style is changing. With Hare Head I am exploring the compositional transition from angular base to organic form.”

2 3

1 Bull Head Large 2011 2 Hare Head 2015 3 Hare TURNING 2015 Bronze, Signed Hamish Mackie Bronze, Signed Hamish Mackie Bronze, Signed Hamish Mackie Numbered edition of 12 Numbered edition of 12 Numbered edition of 12 Dated 2011 Dated 2015 Dated 2015 127cm long x 196cm high x 97cm deep. 17cm long x 62cm high x 16cm deep. 31cm long x 56cm high x 31cm deep.

31 RUSSIA VARZUGA RIVER COLA PENINSULA

Invited on a fishing trip to the Varzuga River by Roxtons Field Sports, Mackie was presented with the perfect opportunity to document wild salmon and observe Arctic tern in their natural habitat. Flying into Murmansk, he then took a helicopter over the tundra to a camp by the Varzuga.

32 2

1 Arctic Tern 2014 2 SALMON 2012 Bronze, Signed Hamish Mackie Bronze & Stainless Steel, Signed Hamish Mackie Numbered edition of 12 Numbered edition of 12 Dated 2014 Dated 2012 37cm long x 73cm high x 34cm wide. 84cm long x 151cm high x 38cm wide.

33 “‘I had asked Charlie White who co-ordinates the Roxtons fishing trips to keep his eye out for Arctic terns. One of the guides, Sergei, found a frozen bird in the tundra. It was an extraordinary find. I then went to the White Sea and photographed the Arctic tern along the coast against all these beautiful wooden fishing villages – within a truly wild environment.”

1 Arctic Tern 2014 2 DIPPER 2016 Silver, Signed Hamish Mackie Bronze, Signed Hamish Mackie Numbered edition of 6 Numbered edition of 25 Dated 2014 Dated 2016 37cm long x 73cm high x 34cm wide. 18cm long x 12cm high x 9cm wide.

34 2

35 1 1 Yak 2014 Bronze, Signed Hamish Mackie Numbered edition of 12 Dated 2014 39cm long x 31cm high x 12cm wide.

37 “Whilst sculpting the Goodman’s Fields horses this image of a powerful horse’s head kept coming back to me. I had to sculpt it.” 1

1 Horse Head 2015 Bronze, Signed Hamish Mackie Numbered edition of 12 Dated 2015 52cm long x 68cm high x 40cm wide.

39 1

1 HORSE Loose Hunter 2015 2 household cavalry Bronze, Signed Hamish Mackie Charger 2015 Numbered edition of 12 Bronze, Signed Hamish Mackie Dated 2015 Numbered edition of 12 51cm long x 48cm high x 17cm wide. Dated 2015 43cm long x 65cm high x 18cm wide.

40 “I was hugely honoured to be commissioned by the Household Cavalry to make a sculpture for the officers’ mess commemorating the presentation of the new Queen’s Standard.”

2 middle east

“Research for a potentially monumental commission spurred a trip to the UAE. The desert and the Bedouin have always held a fascination for me. Studying camels gave me great insight into nomadic life.”

1 2

1 Camel Life Size 2013 2 Camel Sitting 2012 3 Camel Standing 2012 Bronze, Signed Hamish Mackie Bronze, Signed Hamish Mackie Bronze, Signed Hamish Mackie Numbered edition of 9 Numbered edition of 12 Numbered edition of 12 Dated 2013 Dated 2012 Dated 2012 307cm long x 217cm high x 65cm wide. 35cm long x 15cm high x 14cm wide. 33cm long x 28cm high x 14cm wide.

43 africa

“I would like to say a huge thank you to Lewa Wildife Conservancy and especially Ian and Jane Craig who have supported my sculpting since it started.”

44 Hamish Mackie’s signature style captures the raw dynamism and intense power of wild animals. His sculptures are vividly tactile, a quality that invites you to engage and connect with the animal he has brought to life. Mackie’s passion for the environment and conservation has helped support Tusk for over 20 years and we are delighted to be continuing this wonderful collaboration.

Since its inception in 1990, Tusk has built a reputation for identifying and supporting a valuable portfolio of wildlife conservation and related community and education programs across Africa. As many of Africa’s most iconic species continue to be threatened by loss of habitat and the ongoing poaching crisis, Tusk is investing in highly successful grass roots projects, which use conservation as a powerful tool to alleviate poverty, improve education and reduce conflict. Tusk is also playing a vital role working with the Charity’s Royal Patron, Prince William, the UK Government and other NGOs to bring about the end of the illegal wildlife trade that is simultaneously threatening Africa’s unique natural heritage and economic future.

Currently, there are around 4,800 black rhino and 20,000 white rhino remaining in Africa but poaching accounts for as many as three a day. Africa’s elephant population is being decimated at a rate of 30,000 per annum and there are fewer than 400,000 remaining. And Africa’s wild lion population is similarly being impacted and now stands at fewer than 20,000 individuals, making the species even rarer than the rhino!

Our sincere thanks to Hamish for once again supporting Tusk in such a generous way and we do hope you all enjoy his superb Life in Bronze collection.

Charlie Mayhew MBE Chief Executive, Tusk Trust

“I have developed a travelling studio known as The Studio Box. Inside sculptures hang upside down during transit, and in the field it becomes a modelling stand enabling me to sculpt from life.” “Here I wanted to capture the typical eyeballing stare of a winded buffalo.”

46 “I had the pleasure of meeting Ndito at Sirioki Lodge. She thought she was a horse therefore ideal to sculpt at close quarters.”

1 cape Buffalo Head Study 2016 2 Giraffe Head Study 2016 Bronze, Signed Hamish Mackie Bronze, Signed Hamish Mackie Numbered edition of 25 Numbered edition of 12 Dated 2016 Dated 2016 23cm long x 29cm high x 19cm wide. 18cm long x 42cm high x 27cm wide.

1 Buffalo Charging 2016 Bronze, Signed Hamish Mackie Numbered edition of 12 Dated 2016 57cm long x 36cm high x 19cm wide.

49 1

1 Cheetah on Termite 2 Cheetah chase 2014 Mound 2014 Bronze, Signed Hamish Mackie Bronze, Signed Hamish Mackie Numbered edition of 12 Numbered edition of 12 Dated 2014 Dated 2014 42cm long x 30cm high x 20cm wide. 32cm long x 34cm high x 15cm wide.

50 1

1 Cheetah Life Size – 2 Cheetah Life Size – Launch Pad 2012 Foot Down 2012 Bronze, Signed Hamish Mackie Bronze, Signed Hamish Mackie Numbered edition of 12 Numbered edition of 12 Dated 2012 Dated 2012 130cm long x 143cm high x 112cm wide. 185cm long x 175cm high x 60cm wide.

51 1 2

3 4

1 Leopard - Life Size 2 Leopard - Life Size 3 Leopard - Shadow 2014 4 Leopard - Head Study 2014 Climbing Tree 2008 Stalking 2012 Bronze, Signed Hamish Mackie Bronze, Signed Hamish Mackie Bronze, Signed Hamish Mackie Bronze, Signed Hamish Mackie Numbered edition of 25 Numbered edition of 12 Numbered edition of 12 Numbered edition of 12 Dated 2014 Dated 2014 Dated 2008 Dated 2012 33cm long x 36cm high 43cm long x 36cm high 127cm long x 260cm high 193cm long x 163cm high x 16cm wide. x 25cm wide. x 110cm deep. x 75cm wide.

53 “While at Lewa I looked every day for one of the 18 kudu within the 62,000 acre reserve. On the last morning I found the “Grey ghosts” and spent a wonderful few hours observing them. Note the scar on her neck as she checks for leopard.”

54 2

1 KUDU 2016 2 Leopards - Three in a Tree 2014 3 guinea fowl 2012 Bronze, Signed Hamish Mackie Bronze, Signed Hamish Mackie EATING, LOOKING UP, WALKING, Numbered edition of 12 Numbered edition of 12 RUNNING & BOLT Dated 2016 Dated 2014 Bronze, Signed Hamish Mackie 56cm long x 69cm high x 23cm wide. 104cm long x 84cm high x 25cm wide. Numbered edition of 25 Dated 2012 average size: 14cm long x 15cm high x 6cm wide.

55 1

56 “This orphaned hand- reared Serval presented a perfect opportunity to sculpt. Being unprepared for this encounter, I made an armature from an old gutter bracket!”

1 LEOPARD CLIMBING ROCKS 2016 2 SERVAL HEAD 2016 7cm high x 6cm wide Bronze, Signed Hamish Mackie Bronze, Signed Hamish Mackie Numbered edition of 12 Numbered edition of 25 Dated 2016 Dated 2016 42cm long x 70cm high x 19cm wide.igh x 47cm 15cm long x 23cm high x 15cm wide. wide

57 58 1

“This composition depicts the behavioural aspects of an elephant mother with her calves – the older one out in front clearing the way. To me, it is about protecting a new generation and shows all the aspects of motherhood: hierarchy, caring and gentle, yet strong.”

1 ELEPHANTS 2016 Bronze, Signed Hamish Mackie Numbered edition of 12 Dated 2016 88cm long x 25cm high x 23cm wide.

59 “Part of my research is about trying to get into the head of the animal: its attitude, disposition, and those peculiar traits that distinguish it from the pack. As subject matter, a wild animal is physically and mentally very different from one in captivity.” 1

1 WHITE RHINO HEAD 2016 Bronze, Signed Hamish Mackie Numbered edition of 12 Dated 2016 19cm long x 31cm high x 33cm wide.

61 1

1 BLACK RHINO CHARGING 2016 2 WARTHOG 2016 Bronze, Signed Hamish Mackie Bronze, Signed Hamish Mackie Numbered edition of 12 Numbered edition of 12 Dated 2016 Dated 2016 42cm long x 23cm high x 15cm wide. 47cm long x 28cm high x 18cm wide.

62 1

2 3

1 Tuna 2010 2 Dung Beetles 2015 3 Dung Beetles 2015 Stainless Steel (Zeron 100) Bronze, Signed Hamish Mackie Silver, Signed Hamish Mackie Signed Hamish Mackie Numbered edition of 12 Numbered edition of 12 Numbered edition of 12 Dated 2015 Dated 2015 Dated 2010 12cm long x 7cm high x 6cm wide. 12cm long x 7cm high x 6cm wide. 103cm long x 61cm high x 47cm wide.

63 aUSTRALIA

“Australia is somewhere I have long wanted to revisit, the animals that thrive in its vast, remote and arid environment are thrilling to study. It was wonderful to finally have the opportunity in 2015 to return to the outback on a sculpting mission.” 1

1 Kangaroo 2015 2 KOALA 2015 Bronze, Signed Hamish Mackie Bronze, Signed Hamish Mackie Numbered edition of 12 Numbered edition of 12 Dated 2015 Dated 2015 66cm long x 45cm high x 17cm wide. 15cm long x 46cm high x 12cm wide.

65 1

66 “Prized for its wool, in 1788, 28 merino sheep formed the farming backbone of Australia. By 1830 there were over 2 million sheep. Thank you to the North Ashrose Stud for getting me close to those incredibly sculptural horns.”

1 Merino Ram 2015 2 Merino Ram 2015 3 Merino Ram Head 2015 Bronze, Signed Hamish Mackie Silver, Signed Hamish Mackie Bronze, Signed Hamish Mackie Numbered edition of 25 Numbered edition of 6 Numbered edition of 12 Dated 2015 Dated 2015 Dated 2015 27cm long x 22cm high x 15cm wide. 27cm long x 22cm high x 15cm wide. 30cm long x 30cm high x 35cm wide.

67 1 2 “It is refreshing to sculpt from a living model in the studio. I can decide both what stance they should take and rotate to any angle to sculpt from - it is more immediate than piecing together research collected in the field. Few people realise how physically challenging it is for a model to hold a static pose all day.”

1 FEMALE POISED 2015 Bronze, Signed Hamish Mackie Numbered edition of 12 Dated 2015 27cm long x 72cm high x 21cm wide.

2 FEMALE Stretching 2015 Bronze, Signed Hamish Mackie 3 Numbered edition of 12 Dated 2015 23cm long x 81cm high x 16cm wide.

3 FEMALE TORSO 2015 Bronze, Signed Hamish Mackie Numbered edition of 12 Dated 2016 14cm long x 56cm high x 20cm wide.

69 70 1

1 Vessel Amphora 2015 2 Vessel Inflection Point 2015 Bronze, Signed Hamish Mackie Bronze, Signed Hamish Mackie Numbered edition of 12 Numbered edition of 12 Dated 2015 Dated 2015 24cm long x 128cm high x 24cm wide. 54cm long x 42cm high x 54cm wide.

71 THE SCULPTOR AS PHOTOGRAPHER india Sculpting ‘en plein air’ is only one aspect of Mackie’s intensive field research. It goes hand in hand with his wildlife photography, enabling him to bring every detail of his observed subject back to the studio. Mackie has accumulated such a rich seam of insightful images that it now represents a body of work in its own right.

72 1

1 TIGER IN TREE 2016 Bronze, Signed Hamish Mackie Numbered edition of 12 Dated 2016 46cm long x 50cm high x 19cm wide.

73 1

74 2

1 TIGER HEAD 2016 2 TIGER WALKING 2016 3 TIGER DRINKING 2016 Bronze, Signed Hamish Mackie Bronze, Signed Hamish Mackie Bronze, Signed Hamish Mackie Numbered edition of 12 Numbered edition of 12 Numbered edition of 12 Dated 2016 Dated 2016 Dated 2016 27cm long x 49cm high x 28cm wide. 63cm long x 35cm high x 20cm wide. 63cm long x 35cm high x 20cm wide.

75 THE foundry

It is the summer of 1985, London. Two New Zealanders meet for a pint, Simon Allison sculptor and David Reid “You sculpt whatever you metallurgist. Within a week Simon, who attended David’s bronze casting course at the Royal Academy want and we will work school was holding a bronze of one of his intricate sculptures. Simon was smitten by the transformation out a way to cast it.” of his work into a material that matched the ancient Simon Allison Egyptians and Chinese.

So that was the beginning, a bronze casting foundry was born in Brixton, and Simon buried himself in developing the skills and knowledge that were needed for such an enterprise. As exciting as this process was, and it was exciting, it is interesting that history is this great sprawling thing that we sit on the head of but how, in fact, it is a great sprawling thing that fans out in front of us as we start to explore its depth. So many people and civilizations have been there before us and yet we have it all to learn over again, discovering the wealth of the past.

76 “I love the fact that a fingerprint left in my original clay sculpture comes through to the finished bronze. I take full advantage of Lockbund Foundry’s skills.”

From a process point of view very little has changed The artist, Hamish Mackie, is the originator, the in the thousands of years that bronze has been in creator, the skilled passionate soul who translates the use. During a trip to Kathmandu, Nepal in the mid- clay from the earth into fluid, gestural, elegant and 80s Simon spent some time with bronze artisans in the visceral images of God’s creatures great and small. streets of Patan only to discover that their techniques He is the one who traverses the plains of Africa and were exactly the same as his own. The only material the heather of Scotland to seek out, in person, the difference being, where he was using modern close up understanding and details of this vibrant ceramic shell investment, they were still working with world around us. He is the one who presents these a thousand year old recipe of rice husk, cow dung images to thrill and inspire us. So, no pressure on and clay. Their casting results the foundry… when the artists were brilliant - Simon borrowed invests so much of himself into one or two of their little tricks of the work, it is imperative that the the trade that he still uses today. foundry understands this and appreciates the finer nuances of Simon will tell you today that he his mark making. Simon and his runs a top shelf bronze foundry, team at Lockbund have been Lockbund Sculpture, in North working with Hamish for nearly 25 Oxfordshire with a team of years, this has been and remains super experienced technicians an exciting and challenging producing a very high quality relationship based on mutual of product. But who for? Indeed understanding and respect. who for? Well in this case, Hamish Mackie. One of England’s most prolific and finest The overriding ingredient required from the Foundry animal sculptors and here is the nub of it… without is care. Care at every stage of a long, complex the client the foundry has nothing. So the key at the and skilled process, care at appreciating the artist’s heart of the foundry is the ‘relationship’. presence in every detail of the work.

77 commissions chronology

Merrill Lynch, London • 2016 Life in Bronze, Solo Show, Mall Galleries, London Hiscox, London • 2016 British Polo Day Andrew Winch Design • 2016 Blenheim Palace Countryside Alliance • 2016 Chatsworth Lewa Downs, Kenya • 2013 - 2015 First major Public art commission Chippenham Park, Cambridgeshire goodman’s Fields for Berkeley Group Knowsley Park, Derbyshire • 2013 Game and Wildlife Conservation Trust, Highgrove Tregothnan Estates, Cornwall • 2012 Grosvenor Square & Oxford Street Olympic installations Trewithen Estates, Cornwall • 2012 Solo show in New York - Mallet Cadogan Estates • 2010 International Fine Art Fair Palm Beach - Mallet Westminster Estates • 2009 - present Royal Horticultural Society Chelsea Flower Show Clear Water, Canada • 2008 - present Represented by Collier and Dobson Radley College • 2007 -2013 Triennial solo shows at The Gallery in Cork Street The National Trust • 2006 Fine Art Commission Barclays Private Bank • 2005 Knight Frank Woburn Abbey • 2004 Rathbones Edinburgh Floors Castle • 2002 Soane London Chapman University, California • 2001 Art London Gilbane Development Company, • 2000 Hiscox Insurance Rhode Island • 1999 Cotswold Wildlife Park in Aid of Tusk Trust Bahamas Development Company, • 1998 – 2009 Brewin Dolphin, CLA Game Fair Bahamas • 1997 Royal Academy Summer Exhibition Alibaba Group, Hong Kong • 1996 1st London Solo Show The Lucas Collection, Los Angeles • 1996 Won Diana Brookes Art for Youth prize Sogo, Hong Kong • 1994 Merrill Lynch commission Bull Head Burgess • 1992-94 Kingston University Berkeley Groupw • 1991 Falmouth Art School British Racing School • 1986-91 Radley College Triton • 1973 - Born, grew up on a Cornish livestock farm The Household Cavalry Thank you to my wife Laura and Niko Kos Earl for their Vanke co. Ltd, China enthusiasm and help. Inmarsat Designed and produced by Windrush Group. Scott and Twine www.windrushgroup.co.uk

78 “I continue to sculpt what inspires and often work on bespoke commissions - large and small. Please don’t hesitate to contact me if you’d like to discuss the possibility of a commission. I’m always up for a challenge!”

79 “What Rodin did with the human body, Mackie applies to animal forms. Rodin, perhaps influenced by Impressionist painting, was fascinated by the way that light flickers over forms – especially over forms that are actually or potentially in motion. Mackie, dealing with subjects where capturing motion is the very essence of what the artist has to do, shows himself adept at achieving this – his animals always seem to be on the move, or ready, at any moment, to move.” Edward Lucie-Smith – Art Critic.

Sculpture

Manor Farm Barn, Station Road, Hook Norton, Oxfordshire, OX15 5LT, UK T: UK +44 (0)1608 737859 • M: UK +44(0)7971028098 [email protected] www.hamishmackie.com 80