Bronze Head Sculptures

This abstract head sculpture is based on Jungian psychology : Having man and woman in one sculpture materialises the idea that we carry both identities within us, though physically we are bound more to one gender, than the other.

This abstract sculpture was a re-making of “Abstract wave 2” , this time with thicker, especially sharper and more defined edges, which gives the from a more substantial and tense feeling.

Based on the archetype of Mother and Child recurrent in most cultures - Mary and the child Jesus, Isis and Osiris in Egypt - this is an image of protection and symbiosis: Mother and Child complement each other , as each head is missing one half of their face. Her hair and eyebrow line become the common bond that holds them together.

This work shows two faces locked together in the most intimate way, but their gaze is strangely distant. The strength of the work is the tension that exists between the two heads which are bound together. The mother figure angles her cheek to her child in a responsive manner but faces away with her eyes fixed to the horizon.

I created this abstract head sculpture as a female counterpart to join the “Racer Man”, creating the archetypal couple. She appears dignified, gentle, even queen-like.

This is a figurative sculpture about man and woman within one soul. The sun on the right represents the woman, the slither of a moon on the left the man. For this sculpture, I used the mythical language of fairy tales, yet years after its creation I became aware that it embodied the memory of a real life couple. She is all vitality and radiance, he appears more austere and thin, feeding off and mirroring her energy. The lines flowing upwards from nose, eyebrow and cheek form a repetitive pattern that gives energy, and integrates man and woman into one sculpture.

This sculpture represent a mother with young child or baby, that is still very much part of her own identity, and connected closely to her body. Her head is inclined in a caring fashion, and the baby’s head on the right is partly omitted, and fused with the mother’s. This describes the  early symbiotic stage of the mother-and-child relationship. This sculpture is abstract most of the way round, and figurative only from a small part of the frontal view. Seen from the back, one discovers  a  protective bent-over form, that I associated with a nuns’ habit; from the right profile, the baby’s head is reminiscent of a shoot growing out of a plant. So while circumventing the sculpture, and seeing it transform from abstraction to figuration and back again, one discovers a three dimensional image for the ubiquitous fact of life of growing up. A child grows out of a mother, be it with plants, animals or humans: starting off as a part of the parental body, growing larger and  more and more separate and independent over time.

This abstracted head sculpture is based on the multi-faced Hindu God Brahma/Vishnu/Shiva with the idea of unlimited, impartial vision, his three eyes viewing the world from a wide , omniscient angle.

This bronze sculpture is portraying a friendship between two children. The sculpture describes sharing a private moment, entrusting a secret to one's friend, like a weakness, worry or personal experience. The left head is communicating, the right one listening and supporting .

This sculpted head expresses the idea of human growth and development

This abstract sculpture was a re-making of “Abstract wave 2” , this time with thicker, especially sharper and more defined edges, which gives the from a more substantial and tense feeling.

The bronze sculpture of a head was the first in a series of seventeen mainly overlarge heads to follow.

The title of this abstracted head sculpture refers to the famous Pink Floyd song about the invisible un un-knowable side of the moon. Just like in that song, the left side of the face , convex and balloon-like is juxtaposed with the right side, which is dark and hidden on account of its deep concave surface and cave-like space.

this small bronze head sculpture reminds me of the Greek God of Mercury: the minimal angle of his head expressed non-committal interest and curiosity .

This figurative sculpture illustrates the psychological state of ambivalence - two souls - mental states, identities - struggling with each other, within one body.

A very abstracted view of the mother and child relationship, aspiring to an essence though minimal gestures: the mother’s head is hovering far above the child, on an elongated neck, protectively gazing down, and focused on the child; the child, on the other hand. The unity  of the couple , within the differences of their positions in life, is indicated by the diagonal  angles of the heads, complementing each to form a whole.

A disembodied head, soft and filled with air like a balloon, wanting to rise upwards, but firmly held and weighed down by its now hands appearing from nowhere ( = the stone base). Lofty ideas need grounding, Intellectual alienation rooting back into the body.

Absorbing the geometric and abstracting influences of African wood carvings, I fitted this head into the shape of a triangle, and experimented with the ensuing distortion of facial features: very large eyes set against a very small mouth; nose and eyebrows merging into one curved bow.

This sculpture of a head is inspired and based on early medieval sculptures , that I found in English cathedrals. I was interested in keeping the facial features simplified, reduced to hint of raised eye brows, expressing worry or concern.

This abstract head sculpture has been re-created for three times, in 1998, 2003 and 2015. In that process , its expression changed from ruthless ambition to something softer, more rounded, and more realistic and three dimensional.

This ceramic painted sculpture of two heads is closest in style to my great inspiration of African carved wooden sculpture, although the baby’s head is more realistically formed. The feeling that I evoke is less one of closeness and merging, rather instead indicates separateness and aloofness.

This ceramic head sculpture was inspired by a short visit to the local village shopping centre , with my two toddler sons in cohort, and meeting the local bored and vaguely threatening teenagers hanging out in front of the shops.

This sculpture was inspired by a sculpture I discovered in “Eastern section” of the British Museum: an over-life size Buddha Head from India. I tried to recapture its sense of inwardness, focus and simplicity. There is an inner wealth which is emptiness, potential, or space

This abstracted and highly geometrized ceramic head expresses upward-striving, single minded purpose .The rigid diagonals of upwards moving neck versus downward falling plat create a strong tension. This is no softly edged yearning, but a unforgiving desire coupled with commitment .