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Concerns: Landscape, history and the interpretation of meanings expressed in sculptural terms. I work with hard materials - metal, wood, & stone. There is space within these terms to make my sculpture.

Influences: In my teens, though studying sciences, I discovered Italian Renaissance sculpture and later artists such as Rodin, Lipschitz and Maillol. Whilst studying physics as university, I stumbled accidently into an exhibition of work by Michael Ayrton, I was captivated. This initial interest in sculpture was developed into making at the Sydney Place annexe of Bath Academy of Art by first Dawn and then John Huggins. That was in the early 1970s, the influence of Moore and Hepworth was strong, and their work has retained its influence. John Huggins also introduced me to bronze casting, an interest which much later led me to Japan, where I was impressed by their skills and aesthetics. More recently, influences and inspiration and ideas from the work of Tim Stead, Andrew Wilson, Saito Akira, Tony Cragg…

Current work: The development of sculptural concerns and themes reflecting on personal experiences of history and landscape, travel and research, drawing on a skills vocabulary developed over the past decades. For example early memories of forms seen in boatbuilding yards on the Moray Firth coast, together with the eroded shapes of coastal rocks and mountain crags, mediated by an awareness of 20th century sculpture, using virtual 3D space to explore and build my sculptural responses. Rather than a reactive approach derived from commissions which dominated much of my earlier work, I am now much more proactive, developing a synthesis of past experience and contemporary challenges.

Past practice, was based mainly on commissioned work, with a focus on cast metal: bronze silver and iron, also work with stainless steel and silversmithing. Many and various client-centred projects : site-specific, subject-specific, person-specific. The commission process demanded the discipline to produce sculpture-based work with a defined meaning expressed clearly to the client/ target group in each case. Also continuing personal development included exploring methods and materials required to deliver projects, research, and short courses.
The sculpture foundry service established in Wiltshire, and moved later to Galashiels in 1980, also evoloved an offshoot jewellery design and manufacturing business, discontinued as sculptural commission demands increased.

Qualifications and Training
2004 & 2006 Study visits to Japan, (Churchill Travelling Fellowship) leading to membership of the Japanese Casting Artists' Association (
Nihon Choukinka Kyokai)
2000's Short courses at Scottish Sculpture Workshop
1980's Short courses at Highland Craftpoint
1972-5 Sculpture study at Sydney Place annexe of Bath Academy of Art
1973 PGCE Bath University
1970 BA in Physics University of Essex

Further information:
Exhibitions | Commissions

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