Urban orchard; installation using light and shadow

Urban orchard
Sheet steel, acrylic, lighting gels, pavement slabs

Photos from the show of Charlotte R's work; see more on Pinterest

What Lies Beneath; Carving, flotsam & jetsam

What Lies Beneath
Wood, slate and ropes (washed up on the Sussex Coast)

Photos from the show of Tony A's work; see more on Pinterest

Back home

Eleana P's work made it to the exhibition with minutes to spare as she had to fly back to Peru at very short notice.  She named one of her pieces "back home"; it seemed apposite. Unfortunately this meant she didn't see the final install of her work, so by the powers of the internet, here you go Eleana!

Curating & installing a group sculpture exhibition

Two days before the private view and we arrived with the work we were to display (and some we won't; curation is a form of editing... less is more!).

The space seemed to have halved in size; what was acres of room to fill suddenly looked overcrowded. Pieces of work that previously looked massive found their space and looked at home. An immediate lesson to take back to CityLit is the importance of seeing your work outside the confines of the studio.

Framing temporary compositions of light, line, colour, reflection and shadow

Emerald M: "The three dimensional forms of Frames/Place create and frame temporary compositions of light, line, colour, reflection and shadow.

The mirrored panels throw back either reflections of the structure itself multiplied or at an angle, or panels of neighbouring colours, depending on how you are looking at them, or moving around the objects.

Bricolage and objet trouvé

David BT: "My approach is varied in sculpture, mainly bricolage and objet trouvé expressions; in kiln glass work I tend to experiment with burn outs, pâte de verre, slumping, open and lost wax casting and core casting. I still paint in water colours and do considerable work in pastels, loving collage work as well. I also write film scripts and poetry occasionally.

I need these various approaches to my art forms to satiate my inner desire to express myself continually, as I’m a highly active person with an overactive effusive mind. My approach is generally very playful and experimental mixture with narrative, landscape inner and outer, figurative, surrealistic and humour as my main themes; which run through most of my art works...

Checking viewing height of sculpture

Judith J: "Checking what eventual height I should set for this sculpture for people to look into..."

Experimenting with light sources to emulate the sun

Charlotte R: "Testing what kind of light source to use in this maquette. It needs to emulate the sun at various points through the day as it shines through what will eventually be a full-scale public sculpture."

Creating spaces within and without the human form

Gema S: "Studies of the shape of the human body; adding layers to create it, looking at the spaces within it, and breaking down the component parts by looking at the individual body part shapes."

Exploring the structure of words, literally and metaphorically

Peter B: "I make works as a personal exploration of abstract ideas, interrogating the relationship between meaning, form, materials and process. I prefer working in 3D because it allows for the use of space and time, avoiding illusionism.

Transforming debris into uneasy signs and ambiguous realities

Mark H: "Last year's Reflection work (Antibust, A Voyeur Reflects) lead into the pieces made this year; where plastic debris, desolate derelict and harmful, is doubled up to be transformed or kaleidoscoped and made into uneasy signs and ambiguous realities"