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Olivia Clarke

BA (hons) Fine Art

Tondo, 2020, acrylic and varnish on MDF tiles, 4 m diameter

My current body of work has all emerged as a result of my exploration of various printmaking techniques including lino printing, etching, screen-printing and water colour mono prints. I have been fragmenting my drawings using circles, aiming to emphasise the fact that these are sections of a greater whole, and that the drawing extends beyond the boundaries of the circle.

Tondo (work in progress), 2020, acrylic and varnish on MDF tiles, 4m diameter

I have been applying this same concept of fractals to the idea to space. By screen printing enlarged sections of my lino prints onto vinyl floor tiles, I aim to engulf the viewer in pattern. Ultimately the floor tiles, two freestanding stained glass screens, and the large tiled tondo will be displayed in an installation that treads the line between art and design.

Tondo (work in progress), 2020, acrylic and varnish on MDF tiles, 4m diameter

Tondo, 2020, acrylic and varnish on MDF tiles, 4m diameter

It is this concept which originally drew me to creating tiled artworks, for tiles have both a design purpose and long standing history within decorative art.

Installation sketchup visual (1)

Installation sketchup visual (2)

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Tristan Delpouve

BA (Hons) Historic Carving: Architectural Stone

Interpretation of the bust of 'The Spirit of Dance' by Jean Baptiste Carpeaux (1827-1875)
2020
Lavoux Limestone 

Work in Progress - Copy of a panel from the gates of Heaven and Hell by Lorenzo Ghiberti (1378-1455)

2020

Portland Stone

This section of the panel depicts persimmon and pomegranate in the Italian Renaissance style. Originally cast in bronze between 1425 and 1452 by Ghiberti and his two sons.

Various drawing, modelling and lettering projects from 2019 and 2020.

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Architectural Stone
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Daniel Burbidge

BA (Hons) Historic Carving: Architectural Stone

During his three years on the course Daniel has refined a wide range of techniques such as drawing, clay modelling, mould making and carving. These skills coupled with his previous training and professional experience as a Mason in the industry have enabled him to work professionally whilst studying. He has worked with prominent Portuguese stone carving company, Gargula Gotica, and well known stone carvers like Simon Smith and Ivan Cudby.

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Lily Marsh

Graduate Diploma Arts: Carving

A Sketch Model
2020
Modelled in wax and then cast in bronze using the lost wax method
Edition 1 of 4 plus artist proof
This was a special project, where I modelled a Shetland pony from life over a 4 hour period. Working in this way was very rewarding.
A Horse In Bronze
2019
Modelled in wax and then cast in bronze using the lost wax method 

Edition 1 of 4 plus artist proof.

A Direct Carving
2020
Caen Limestone
 
A head portrait carved direct from a drawing made during the Brinsley Ford Travel Prize trip to Rome in 2019.
A Carving of a Prophet
2020
Caen Limestone 
 
A head portrait based on a medieval cast of a saint or prophet.
Before Long
2020
 
A raised lettering piece completed in a workshop with lettering artist John Neilson.

A Roman Portrait Head

2019

Charcoal

A drawing made whilst visiting Rome on the Brinsley Ford Travel Prize trip.

Michelangelo's Tondo Pitti

2019

Pencil

A drawing made of Michelangelo's Pitti Tondo, whilst visiting the National Museum of the Bargello in Florence.

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Architectural Stone
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Tobias Wood

BA (Hons) Historic Carving: Architectural Stone

Trecento Tomb (two views)
2020
Lavoux Limestone
850 x 850 x 70mm

For my final year project at City & Guilds of London Art School, I carved a composition based on the Trecento Tomb of Beata Chiara Ubaldini (1325). The original is carved in marble and can currently be found at the Victoria & Albert Museum, London. The original has eight bays but I chose to design a composition using only three of the original bays. I chose to include the architectural and inscriptional elements of the original in order to show a range of skills in carving and in order to treat the composition sympathetically to the original.

Clay and plaster Trecento

2019

In order to go about this project I first began by studying the original carving through observational drawing and looking. The marble is carved very beautifully and with great skill and observation was very important in understanding the rhythm and movement of the design. From the drawings and photographs that I made I transferred the design onto three clay panels. I then modelled the three foliate panels in clay, paying particular attention to the heights and depths which I obtained by measuring the original stone. It was also important to look at the original carving from all angles in order to accurately model the design in clay.

Once the clay modelling was complete I made moulds of the three clay panels using silicon. I then filled these moulds with plaster so I had durable and repeatable models for carving into the stone. Once the plaster models were complete I transferred the designs onto the lovely piece of Lavoux Fin limestone I would be carving.

Unfortunately due to the enforced closure of the Art School I was unable to continue working in the workshop at the school. However, fortunately, I was able to find a space to work and so continued carving outside in the open air. The preparatory modelling and casting proved to be invaluable to the carving and I was able to copy the design into the stone. The piece is yet to be totally finished but the process and experience has been invaluable, challenging and deeply rewarding. The academic research and writing I undertook gave me a new and rich insight into the lives of Florentine nuns in the fourteenth century. Little of what I thought to be the case about the life of nuns turned out to be true and this fascinating object reveals a fascinating period of time, in what must have been a very interesting city to live and work.

Macke Transcription
2019
Cement Fondue
820 x 640 x 60mm

Further to carving stone, there is much emphasis of drawing and modelling at the Art School. As a result there is ample opportunity to develop these skills by choosing projects, designs and inspiration from wherever you so choose. Above and below are images of other work I was fortunate enough to undertake during my time at the Art School.

Various Carvings
2019
Portland and Caen Limestones
Various sizes 
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Architectural Stone
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Heather Griffith

BA (Hons) Historic Carving: Architectural Stone

Felix Slade Drinking Fountain, Kennington, South London (1862)

My main project this year is based on the design of a long-lost drinking fountain from nearby Kennington Park, the uppermost section of which had been a classically styled bronze urn. I was drawn to research this fountain after chancing upon the remains of the stone basin and learning of the historical links to local figures.

My studiowork had progressed so far as completing the base of the urn and beginning the carving of the body, both in Lavoux limestone. The serpent handles and acorn finial are to be cast in bronze, all of which I hope to be able to complete during September of this year.

The base and body of the urn nearing their final stages.

The serpent handles and acorn finial modelled in clay.

Joy

2020

Portland Limestone

330 x 600 x 32mm

Joy was a result of a workshop with lettering artist John Neilson. The objective of the exercise was to arrive at a layout solution for two words chosen to contain conflicting, matching or otherwise ‘difficult’ letter connections when stacked. These two words leapt into my head during the briefing and I was stuck humming from Symphony No. 9 until it was completed.

Fall
2020
Slate
685 x 133 x 19mm 
“It Could All Fall Apart at Any Second” is the motto of the Angel Comedy Club in Islington - where I worked part-time during my studies - and is exactly what did happen to all indoor entertainment venues in March of this year. It was created during a workshop with lettering artist Charlotte Howarth in which we were encouraged to be free, spontaneous and fun – designing directly onto the stone with chalk and wiping it away until we found a design which held with us.
Memorial
 
2020
 
Slate
 
300 x 458 x 50mm
 
I was requested to design and carve a cremation memorial stone for my great-uncle-in-law. Provided with the text and dimensions; I then worked on the layout, lettering, carving and painting during my lettering tuition classes. The slate was said to be reclaimed from a school science department, and was finely grained with a soft sheen when polished. It will be installed later this year.
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Architectural Stone
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Gordon Hayes

BA (Hons) Historic Carving: Architectural Stone

Veiled Head

2019

Portland Stone

A second year drapery study inspired by The Martyrdom of Saint Cecilia by Stefano Maderno (1600) and The Veiled Virgin by Giovanni Strazza (c.1850s).

The Return

2020

Purbeck Pond Free Limestone

1200 x 900 x 90mm

This work in progress relief is a transcription of an unposed photograph of a Lancaster crew returning to RAF Waterbeach near Cambridge, taken in October 1944. I was struck by the candour and to some extent open hostility to the photographer of this crew. It is reminiscent of the Vietnam war photography of Don McCullin and the relief carving of Adam Kraft some three centuries earlier. Work was interrupted by the Covid19 pandemic.

Carving "The Return"

Daily time-lapse sequence showing the progress of the carving of the piece between November and March 2020.

Earthrise

2020

Slate

1080 x 760mm

The only people to have seen the view depicted in Apollo 8 astronaut Bill Anders' iconic photograph. Twenty-four names in recessed raised lettering over a relief depiction of Earth rising over the Moon's horizon.

Armorial Crest

2020

Purbeck Pond Free Limestone

630 x 420 x 85mm

This is a copy of a Northern Italian Renaissance crest of the Alidosio family in the V&A Museum, London.

Stiff Leaf Capital

2019

Ancaster Hard White Limestone

Copy of a 19th century cast taken from Westminster Abbey.

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Architectural Stone
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