Privilégiant un processus artisanal tel que la couture (fait main), elle transforme des matériaux malléables comme des gants, des chaussettes, tissus d’habillement.. et d’autres vêtements texturés qu’elle revêt et imprégne de résine, qui se solidifient et conservent tous les détails tactiles. Ainsi naît ses sculptures figuratives très expressives.
« Dans mes rêves, des bribes de la vie quotidienne se combinent avec des fragments de la mémoire et cela prend une nouvelle signification, je tente de faire écho à cette notion dans les matériaux que je choisis pour mon travail. J’aime l’idée de choses désuètes, rejetées et marginales qui reviennent et forment de puissantes présences. »
David Freedman Metal Sculptures. (UK)
Metal garden sculpture, bespoke artistic gates and unique garden furniture. Original contemporary British sculpture, garden art and public sculpture. From wrought iron gates to bronze sculptures. Insect and flower sculpture.
Art of Clare Ferguson-Walker. (UK) Figuratives sculptures
Through my work I aim to communicate the human condition from as many angles as I can see. I often draw upon elements of folklore and mythology, as I believe that certain stories carry age old truths woven into our collective sub-conscious which often have moral, emotional and physical relevance, regardless of time period or cultural status. I am drawn over and over again to using the human form as my starting point. as I believe that the physical body can and does communicate in a universal language. Each of us communicates using body language on a daily basis, often involuntarily, therefore it is a pure truthful language often revealing emotions that we would otherwise choose to hide. My figures are deliberately distorted, they come from another realm, my own personal world. Their forms also attempt to re-write our often limited views of what is considered beautiful. They are subtly rebellious. I believe that the imagination is the channel by which the subconscious communicates with the conscious mind, and I believe that symbolism and metaphor are the languages that it uses. Therefore I freely allow my imagination to come up with scenes and concepts which I then turn into an object or image. My sculptures and paintings can be interpreted in the same way as one would interpret a dream, objects, creatures and positions carry hidden meanings to be unraveled. The subsequent narrative which I see developing is the plot line of my attempt to rationalize this world and my existence with in it. My work often deals with memory, loss as well as hope and the celebration of life itself. I love working with clay and I feel that the process of firing is something akin to alchemy, changing one substance into another. It allows for experimentation and always comes with the element of potential loss, making it a delicate and often heartbreaking art form. I also love working with bronze, I love the excitement of the foundry process and I like the permanence of the material. I know that after I am gone, there will be a little of myself immortalized in my sculptures.
« My work dwells in a netherworld between urban fine art and contemporary graphics, A collision of real and digital media it is primarily illustration based with a firm foundation in drawing, I focus mainly on the human form particularly the face, interweaving elements from the animal kingdom often reflecting the absurdity of human nature. »
« What interests me most about studying animals is identifying the spirit and character of the individual creatures. I try to create a sense of the living, breathing subject in a static 3-D form, attempting to convey the emotional essence without indulging in the sentimental or anthropomorphic »
Recently commissioned by Historic Royal Palaces to fabricate thirteen sculptures as part of an exhibition ‘Royal Beasts’ exploring the history of the Royal Menagerie at the Tower of London. The work will remain on-site as a permanent installation once the exhibition finishes.
Made from her trademark material, galvanised wire; life-size lions, baboons, a polar bear and an elephant help tell the story of the exotic animals that were a popular tourist attraction at the Tower from the 1100s.
Né à Londres, en 1963. La plupart des sculptures de Sophie Ryder sont des créatures mythiques, mi-humains mi-animaux. Sa pièce la plus connue est le lièvre Dame, un lièvre avec un corps humain de sexe féminin.. Les sentiments et les émotions sont directement reliés à l’artiste elle-même. Elle utilise des animaux pour explorer les émotions humaines et montrant que les sentiments peuvent être lus. « Le Dame Lièvre m’est venue lorsque je cherchais un compagnon pour le Minotaure. Je voulais un corps de femme avec une tête d’animal et la tête de lièvre semblait fonctionner parfaitement. Elle est généralement accompagnée par un Minotaure, d’un chien ou d’un cheval, et plus récemment seule. l’apparence a également changé et il y a quelques années, la tête est devenue plus définie comme un masque pour montrer plus clairement qu’elle est un sous-homme. »
Sophie Ryder was born in London, England, in 1963. She studied Combined Arts at the Royal Academy of Arts where, while obtaining her diploma in painting, she was encouraged by fellow artist to develop her sculpture. Inspired by Picasso, Goya and Henry Moore, she famously developed the Lady Hare as a counter part to Ancient Greek mythology’s Minotaur.
Beautiful work sculptures Nicola Hicks (UK) – born 1960.
Nicola Hicks – Closed up horse – Life study – 2012 / sculptures
Hicks studied at the Chelsea School of Art from 1978 to 1982 and at the Royal College of Art from 1982 to 1985.
Animals are her primary subject matter, usually sculpted in straw and plaster. This was unusual for an artist in the 80s, by which time abstract sculpture and installation art had become the norms in the art world. Hicks also works on huge sheets of brown paper on which she works up her dynamic charcoal drawings. Many of the sculptures have subsequently been cast in bronze, often with such subtlety that every fragile detail of plaster and straw is reproduced.
Animal sculptures by Nick Mackman. (UK) / Drawing on her experience as a rhino keeper and on safari, she aims to get under the skin of the animal and then recreate it, giving each one its own personality. Her pieces are Raku fired, argile or papier maché used.
Changing female body image through ARt ? / Changer l’image du corps féminin à travers l’art. (Je n’ai pas compris le titre, ni le reste.)
400 vagins moulés dans le plâtre par le sculpteur anglais Jamie McCartney.
Le résultat se compose de 10 panneaux représentant les parties intimes de 400 femmes de 18 à 76 ans qui ont accepté de se prêter au jeu. L’oeuvre mesure ainsi plus de 9 mètres de long. L’artiste prévient : Cette pièce est le « Monologue du Vagin de la sculpture’ »et veut changer la vie des femmes pour toujours.”
Un travail qui a été exposé du 6 au 31 mai 2011 au Brighton Festival Fringe, au sud de l’Angleterre.
Mixed media Sculptures of Anna Gillespie (England) – Bristol based artist producing drawings and representational figurative sculpture using contemporary disposable materials and bronze.
Anna Gillespie – Sculptures
The sculpture shows the time of gathering but also a gathering up of transience, as if by embracing time you might stop its perpetual motion. And in bronze it is caught forever. In such work the distinction between the human and the natural world is blurred, reminding me of Ovid’s ‘Metamorphoses,’ in which people are transformed into trees, birds, and flowers. In all the tales the transformation is an act of mercy – so the self-obsessed, lovelorn youth Narcissus becomes a flower instead of suffering death, and the devoted old couple Baucis and Philemon are changed into trees at the same time. There is real compassion in Gillespie’s work too, and she would understand that process of becoming, for in those sculptures which do not make use of the twigs and seeds which became a characteristic so beloved of her admirers, there is still a struggle to break free of what was and become something else. So a white figure is imprisoned within a stone wall, and people wrapped in duct or masking tape are infused with extraordinary energy and given the gift of flight. This is the work of an artist at the height of her powers, who is involved in an endless process of change herself – a serious, passionate quest for synthesis. Bel Mooney
Ca fait un moment que je lorgne sur ce tableau,
pour tout l’abandon et toute la beauté qui s’en dégage : Godiva (1898) de John Collier…
Godiva, ou plus correctement Godgifu, est une dame anglo-saxonne du XIe siècle, épouse du comte Léofric de Mercie. Sa vie est mal connue. Son nom est associé à une légende apparue plus d’un siècle après sa mort, selon laquelle elle aurait traversé les rues de Coventry à cheval, entièrement nue, afin de convaincre son époux de diminuer les impôts qu’il prélevait sur ses habitants. Bien que dépourvue de tout fondement historique, la chevauchée de Lady Godiva a inspiré de nombreux artistes.
Une des variantes de la légende veut que les habitants de Coventry, pour montrer leur reconnaissance envers leur Dame, se soient tous enfermés chez eux pendant son passage. Seul un curieux, nommé Tom, aurait osé enfreindre la consigne et aurait jeté un coup d’œil à la dérobée ; mais en punition, il devint sur-le-champ aveugle. C’est de là que vient l’expression anglaise « Peeping Tom », très souvent remplacée dans la langue actuelle par le français « voyeur ». Selon certaines sources, cette légende serait née en 1586 : on aurait demandé au peintre Adam van Noort de représenter l’épisode et il aurait montré Léofric en train de regarder sa femme par la fenêtre pour constater qu’elle exécutait effectivement sa promesse. Le public aurait mal interprété ce détail, prenant le comte pour un simple indiscret. (selon wikipedia.)
John Collier : L’Honorable John Maler Collier OBE RP ROI ( à Londres – ) était un écrivain et artiste-peintre britannique préraphaélite.
![Sophie Ryder Artist – Transparent Minotaur [Wire, 2013]](https://www.lilavert.com/blog_lilavert/wp-content/uploads/2013/03/Sophie-Ryder-Artist-Transparent-Minotaur-Wire-2013-380x285.jpg)
