Large Bronze Figure Sculptures

With my large figurative bronze sculptures, my style varies depending on the time, material, and occasion for which I sculpted the work:

Abstract, with emphasis on holes (“Walking Forwards,” “Standing Together,” and “Family Group”). This newer style, originating from 2017, was developed in response to a brief for a public commission for organ donation, displayed in front of Northampton Hospital. The public viewing of the sculpture necessitated avoiding provocative or inappropriate nudity that appears too realistic; the topic of “organ donation” led me to incorporate holes to express the missing (or shared) organ between two people. The holes also refer back to famous sculptors Moore and Hepworth, who introduced holes to public sculptures between 1930 and 1960. All three figures contrast solid, strong volumes with empty, half-circular spaces that penetrate the whole width of the sculpture.

Linear style with strong contrasts of flat versus round, angular versus flowing lines, and large versus small volume (“First Woman,” “Little Venus,” “Trumpet Woman”).

Compact style due to stone carving (“Primitive Woman”).

With the exception of “Woman Hands on Hips” and “Primitive Woman,” I don’t show facial features; “Family Group” has only small nose stubs; “First Woman” faintly shows jaws to indicate the upward movement of the head; or the head is reduced to the shape of a doorknob (“Ready”). Keeping the face “invisible” helps redirect the viewer’s attention towards the body and concentrates on a universal message rather than describing an individual woman.

With “Abstract Torso,” I took the “headlessness” to new heights, comparing a pregnant woman’s body to a flower with voluminous petals.

With most of my bronze sculptures of women, I emphasize strength and steadfastness—holding your ground, standing firm; though “Little Venus” is a bit shame-faced about it.