Monchelsea Place - History of a Sculpture

Carving away the rough exterior to revel the sculpture inside. Suddenly amidst all the dust and fog, the form starts to appear. The bellied pot form and handles take on a very interesting and satisfying shape.This particular block is predominately blue one side and creamy brown the other.    

Working on Sculpture B! Once the form is rounded I plan to cut out the two oval windows in the stone. The overall abstracted form is starting to suggest an ancient oil lamp or fragmented vessel with both its jug handles fused together. The stone is very tactile with some interesting surface qualities. You really want to touch the stone when it has so many curves and I envisage this being its appeal once polished.   

Really good to get on site and discuss the location and positioning of the three sculptures for Monchelsea Place last Wednesday (22nd February) The area selected is close to a formal seated area with the work at a slight angel which will give views through the stone towards the distant woodland. As the trees mature they will also enclose the sculpture making it a private space with easy access from the circling paths. Discussion around lighting is also now a possibility which will increase the drama of the artwork.     

 

 The snow has gone and all three stones have now been lifted upright!  There is still a lot of material to be removed but I can already start to see how the sculptures will relate to each other and how the colours in the stone will complement the forms. 

  ....And suddenly, everything grinds to a halt at Quarry Farm! As pretty as everything looks out here its almost impossible to work in these conditions.  

Draw, Cut, Carve, Repeat! This is the third stone which will form the triptych. Out of all the forms it is probably the most peculiar! The 'fragmented vessel' form plays with shapes and curves that suggest teapot handles and spouts. The reoccurring windows that are common within the other two stones suggest the functionality but will also link and frame the immediate environment including the new homes and distant woodland. I can already envisage small children standing  on tip toes and popping their heads through the stone portals and interacting with the sculpture, becoming curious about the colour and fossilised sea creatures embedded in its surface.