Rake Ribbed Caracal

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Rake Ribbed Caracal

I was lucky enough to see a caracal when I was in South Africa a few years ago so I was really excited when I was asked to make one.

It was very important to get the head right, as I think felines can be especially difficult to capture.  I had a pair of very large split pins that worked well for the eyes and I used pliers, coathooks and  other curving items to get the muzzle and cheekbones.

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Rake Ribbed Caracal

I used steel cable for the characteristic tufts on the ears and bow saw blades for other fur-like texture in places. The legs and paws used up a very large number of bull-nosed and other types of pliers as they helped define the toes.

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Rake Ribbed Caracal

I was very pleased with the movement in the piece and was careful to get the overall balance so that the front paw is just off the ground. The power in the hindquarters and shoulders are conveyed with large items such as horseshoes, clamps and spanners. On one side I even managed to incorporate a large bolt from a door.

I am very grateful to my clients for allowing me to borrow the piece back so that it can be shown at The Natural Eye, the annual exhibition of the Society of Wildlife Artists which is at the Mall Galleries from Thursday 30 October until Sunday 9th November 2014.

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Rake Ribbed Caracal

 

 

Drill Tailed Squirrel

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I was thinking of subjects for sculptures for The Natural Eye, the annual exhibition of The Society of Wildlife Artists at the Mall Galleries in London, and decided that it would be fun to try and make a red squirrel.

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I tried to make the piece life size but it ended up a little too large. Despite my best efforts most pieces end up about 15 or 20 percent bigger than I intend. I think it is a combination of working with found objects and working in 3D. If I was using a malleable material such as plaster or clay I could remove or add volume fairly easily. With found objects I like to try and show as much of the shape of the original tool as possible and hesitate to grind volume away and ‘muddy’ the shapes.

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The head has a variety of tiny spanners in it and the ears are made of a large wingnut that I cut in half and dinner forks with steel cable for the tufts. Although it is a bit obvious to use colour in the piece, I think it helps to show it is a red squirrel and not the larger grey. The bulk of the red comes from an old hand drill and a canterbury hoe along with a couple of pairs of pliers that had red handles. In addition I found a coat hook that I brought back from Sark with layers of white paint which was perfect for the white belly. The tail proved a problem until I hit on the idea of using old auger drill bits.

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Scissor Green Woodpecker

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There has been a family of green woodpeckers in the horse fields over the summer so it was natural for me to try and make one. As with all smaller creatures it is actually quite tricky to make one in welded found objects. Luckily a green woodpecker is quite a characteristic shape.

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I don’t often use colour in my sculptures but I had a few red items out in my workshop from making a red squirrel so I had a red combine ‘finger’ and a red canterbury hoe to hand. It helped to confirm the species and I think it works well in this sculpture.

The beak is the make or break of any sculpture of a bird. I had to trawl through my collection of scissors to find just the right sizes for this. Parts of the handles helped with the head and the flanks. One pair even had red handles so I could use them in the head as well.

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The blades from larger scissors all went into the tails and wings. The lovely shape of the tail, which has very stiff feathers to help the bird balance when clinging to trees, is all scissor blades other than the central feather which is a very old plumb line weight.

This piece will be for sale at The Natural Eye, the annual exhibition of the Society of Wildlife Artists at Mall Galleries London. The show runs from Thursday October 30th until Sunday 9th November 2014.

Blade Raven

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I enjoyed making this commission as I think corvids are very striking and lend themselves to being made out of old tools. When I make a piece I tend not to think about the item itself, as far as I’m concerned they are shapes and forms.

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The bill on a Raven is extraordinarily large and the combine ‘finger’ was a perfect start. I shaped it slightly at the tip and added an old hand made nail for the lower part and steel cable for the characteristic bristle on the top.

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The title of the piece, Blade Raven, was obvious when I realised how many blades were in the sculpture. Circular sawblades for the shaggy feathers, shear blades for the wings and tail, a sickle in the wing complete with the remnants of a ‘Spear and Jackson’ label and rotavator blades on the body among others. To add to the shaggy neck I used a small garden fork but also had an old dinner fork and a carving fork from an ancient collection of cutlery that I had been given.

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Rock Partridge

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This piece was a commission for a gift for a family member with a house in France named after the bird. It was quite an undertaking to create a piece in sheet steel on such a relatively small scale.

Rock Partridge

The problem with birds is that often a great deal of their recognisable features is in the plumage colours. I do not paint my sculptures so I have to be quite creative to refer to patterns and colours when using steel. For this piece I used the grille from an old white transit van bonnet to suggest the barring on the chest. in order to get a good dark stripe I had to create a space behind the grille to give the depth of shadow. It worked out quite well. In addition when working with painted steel you have to take care to ensure that the welds are kept to a minimum or the paint burns off.

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An example of a sculpture on which I made use of colour is the Southern Ground Hornbill. This piece was made with scrap items that had already got red paint on them (spanners, pliers and a spokeshave) so provided the striking red pouch on the bird.

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Southern Ground Hornbill

 

Bantam Cockerel

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Bantam Cockerel

A client commissioned me to make a sculpture of her feisty bantam cockerel. He was a bit of a character apparently and I hope that I have captured something of his attitude in this piece. A circular saw blade is used for the comb and auger bits, heated in my pot bellied stove then bent, add to the tail feathers alongside callipers and a builder’s trowel.

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Bantam Cockerel

Living on the Edge

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Bilhook Badger

I made this piece for an exhibition in Stamford called ‘Living on the Edge’ that was a spin off from the New Networks for Nature symposium. The remit of the show was to make work in response to the title. It was a thought provoking show and I made Dog Chain Bittern, Tweezer Nosed Frog, a Roesel’s Bush Cricket and Bilhook Badger.

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Dog Chain Bittern

Dog Chain Bittern alluded to the success of conservation efforts to help a particular species by setting up reserves.

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Tweezer Nosed Frog

The Tweezer Nosed Frog was a reference to how the world has got smaller so that wildlife can be exposed to non native flora and fauna and indeed viruses, in this case the choroid virus that has spread through amphibians and is cited as the cause of extinction of at least one South American frog species.

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Roesel's Bush Cricket

The Roesel’s Bush cricket is extending its range in the UK possibly through global warming and by making use of roadside verges.

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Bilhook Badger

A badger was an obvious choice as being a mammal in the news due to the TB crisis and an example of a species that is at the centre of a massive controversy involving Government, the farming industry, conservation organisations and the public.

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Bilhook Badger

I made a special effort to use plenty of digging tools in the piece as I enjoyed the fact that badgers are honed digging machines.

The Natural Eye, Art Book One

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This limited edition hardback book is packed with images from nearly 60 of our artists. With an introduction by naturalist and broadcaster Chris Packham, a short history of the Society by past President and founder Robert Gillmor, plus text by current President Harriet Mead about the Society in its 50th year and Bruce Pearson looking to the future, this is both a beautiful and informative book. With field sketches, drawings, original prints, oils, acrylics, mixed media, bronzes, ceramics and found object sculpture there are gems on every page. Each of the contributing artists have written short anecdotes about the work that they have donated and funds from the sale of the book will help the Society to encourage and support artists inspired by the natural world through the SWLA Bursaries and other opportunities.

‘What a handsome and impressive compilation it is! I am truly delighted to have it on my shelves.’ Sir David Attenborough

BBC Wildlife Magazine’s ‘Book of the Month’.

‘A hugely impressive treasury of fine art inspired by the natural world’ Jonathan Elphick, writer and naturalist 

‘Anyone who buys this book will love it if they have the faintest feeling for wildlife’  Mark Avery, writer, naturalist and environmental consultant

‘A whole world of wildlife is brought into the room with you, brimming with the essence of each subject, telling stories, and setting up wonder in our enquiring minds’ Andy Clements, Director of the British Trust for Ornithology 

At only £20 plus p&p it makes an affordable and desirable addition to any art or wildlife lovers bookshelf.

AVAILABLE FROM SWLA WEBSITE

Hammer Horned Giraffe

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Hammer Horned Giraffe

Here is my second giraffe of the year, Hammer Horned Giraffe. If you look at my post about Hedge Trimmer Giraffe you will know that I started a commission for a 4ft 6 giraffe that rapidly became too big. I put this one aside and made a correctly sized one for my client with the intention of finishing the large one for The Natural Eye, the annual exhibition of the SWLA at the Mall Galleries from 30th October- 10th November.

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Hammer Horned Giraffe

It took an awful lot of work and I was welding right up to the last minute to get the piece ready in time but I am happy with the result.

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Hammer Horned Giraffe

The bulk of the frame is made up of bow saws and long handles from edging shears and other gardening tools. The lower jaw is made of sheep shears and pliers handles plus old mortar trowels for the ears alongside the hammer heads for the horns. All the patterns are made up of blades from combines or other harvesting machines. The tail is made of auger bits.

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Hammer Horned Giraffe

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Hammer Horned Giraffe