My sculpture explores the interplay between organic form and structural integrity. A fascination with natural processes like erosion and growth informs both my subtractive carving techniques and additive methods with materials such as clay and plaster. My works often intertwine elements of nature, such as vertebrae, ivy, and trees, with human and
structural forms, creating pieces which I hope are both evocative and thought-provoking.

Profile photo image credit: JBL Creative

Owen Meredith is based in Taunton, Somerset and produces sculpture predominantly in wood and metal.

The woodland is where Owen’s sculpture journey started. Not only offering endless inspiration but a 20 year career in forestry provided an abundant source of offcuts to hone his skills! Chainsaw sculpture was the natural outlet for his creativity in the early days. Timber is what makes Owen tick, and he never loses the excitement of opening up a log to reveal the grain and secrets inside.

Over the years, Owen’s sculpture has developed to using other materials in his work. Owen loves to explore the contrast and conflict between metal and wood. They are so different materials yet together they offer exciting possibilities for sculpture that wood alone can’t achieve. Being immersed in woodland influences and inspires the sculpture Owen creates. Often subjects are small micro fragments of beauty which often go overlooked due to their size. From the wing detail of a tiny insect or the profile of a seed, Owen loves to supersize these into large, exciting sculpture.

BIOGRAPHY.

In 1983,  Jonathan Loxley joined a small, bohemian group of film and theatre painters and sculptors who traveled the country building sets. This opportunity allowed him to explore his creativity, which later generated work on the set of the movies, Labyrinth and Aliens, where he continued to gain considerable experience in this industry.

Following an African adventure (as a break from this high-pressured job), Loxley made the decision to concentrate on developing his passion for form, and moved to the marble mountains of Carrara in Tuscany, Italy, to learn how to carve marble. After nine years, Loxley returned to England and set up a studio space to allow his skills to evolve and emerge through his chosen material.

Jonathan Loxley has exhibited across Europe, and his works can be found in collections around the world – from public parks and penthouse terraces in Hong Kong to more humble residential gardens in Europe and the United Kingdom.

ARTISTS STATEMENT.

I carve in marble because it is physical and dynamic. I feel it from the point of impact with a chisel, right down into my toes. For every swing of the hammer, my body is holding a position relative to that point of impact. Essentially, the marble dictates my every move – it demands I dance for it, and I appreciate that – desire it even.

The marble also takes me on a linear trip – I cannot go back. This forces me to be bold. I am in a Bootcamp that demands respect, discipline, stamina, forethought and final decisions – all the characteristics I felt I was, as a young man, in need of.

 For as long as I can remember, I have been attracted to particular shapes and forms that I have grown to believe have inhabited the human psyche since we first came into existence – ancient fragments of a silent language that unconsciously evolved over hundreds of thousands of years. But the consequences of our own evolution have incidentally smothered this language.  It is only dormant, however, and can be encouraged to surface, reconnecting us when very little else can.

I am searching for these breadcrumbs, that lead, ultimately, to some faraway home, a place utterly absent of materialistic distraction – an ancient place where I can imagine someone picking up a burnt stick and with total inhibition, and a talent born of adoration and wonder alone, sketch out on the rock wall an antelope so exquisite we would later come to call it a masterpiece.

It may be as much an unreachable task as a donkey studying to become a horse, but the trip becomes more compelling with every step.

And so, It is my wish, and in fact, my job, to share my findings by manipulating the way light falls on stone – sculpture – a primal, silent language, and by way of that, attempt to place a finger on the part of someone they may have only suspected existed – to awaken a collective past – to re-unite them, if only for a moment, with a thankful world – a world we were once truly inseparable with.

 “We shall not cease from exploration, and the end of all our exploring will be to arrive where we started, and know the place for the first time.” T.S.Eliot

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Maxine Farmer Sculptor Bio

Maxine’s passion for sculpture stems from a fascination with capturing energy, emotion and
fleeting ephemeral moments as permanent 3D memories. Most of her work is figurative,
but she also loves sculpting animals and scenes from nature. Maxine creates her original
sculptures in clay, plaster, or mixed media, and many are turned into cold-cast bronzes. She
has also been building a portfolio of bas relief.

Shortlisted for the International Emerging Artists Awards for three consecutive years,
Maxine is a member of the Oxford Sculptors Group, Surrey Sculpture Society, and the Visual
Artists Association. Her sculptures are owned by collectors in the UK, France, and the USA.
‘The Reader’ was chosen by the Royal Society of Artists’ 2024 Annual Exhibition in London.

Until recently focused primarily on private commissions, Maxine now seeks to share her
work with a broader audience. Like many sculptors, Maxine is largely self-taught through
trial and error, but she has also studied sculpture and art at St Martin’s, the V&A, and Tate
Britain in London, received individual tuition from Beatrice Hoffman, and completed a year-
long bas-relief masterclass. She divides her time between Oxfordshire and the South of
France.

The daughter of an Irish vet, Jan Sweeney grew up in the open countryside of East Anglia, on the east coast of England.  Her early training was at Colchester Art School, and she followed this with three years working in Verona, Italy, under sculptor Mike Noble.  She first visited Africa in 1985, where the African scene and wildlife had a powerful influence on her work.

Jan divides her time between her lakeside cottage at Lake Chivero, Zimbabwe, and her house in Somerset, England.  Because of this, her work portrays the animals of both the English countryside and the game of the African bush.  Horses are a particular love of this accomplished horsewoman, who has also competed successfully in both eventing and dressage.

Born in Paris 1960 and now living in Bristol, England. Sculpture is in Lucianne Lassalle’s DNA. She grew up in a bohemian artistic environment, her mother was a potter, her father a painter.

The human form has always been Lucianne’s passion.  For her it holds endless possibilities albeit just as pure sculptural form or as a socio-political reflection or comment.

Living in Bristol has had a huge impact on Lucianne’s recent work, streaming a flow of urban realities, particularly reflecting the street culture in the city today.  Leading her investigation into the vulnerabilities and vibrancy of human nature, urban myths are grafted on to the archetypes of ancient Abrahamic and Greco/Roman mythologies. 

Lucianne works predominantly from the life model. Creating pieces on all scales; from 15cm to 2 meters. She works initially in clay, the sculpture is then cast into limited editions of Bronze or various resins.  

 “I see the human form as an interface between the mental, emotional and spiritual processes inside and the external manifestation of these ‘states’ in the outside world.  I am fascinated by the complexity of the human experience. This is what compels and inspires me to make sculpture” 

— Lucianne Lassalle.

Lucianne Lassalle has exhibited globally at Art Fairs and private galleries. She is currently represented by several galleries in the UK

Min is a multi-award winning artist acclaimed for her work as a film director, sculptor and photographer.

Min’s ultimate passion is in sculpting with her preferred medium being clay. She is particularly drawn towards sculpting wild creatures capturing moments in their lives that exude emotion from peace and serenity to adversity.

Originally hailing from New Zealand, Min was born in the jungles of Malaysia, spending her childhood growing up in Kuala Lipis, Jamaica, Hong Kong and then continuing her education at The University of Auckland where she read Economics and Psychology.

Whilst leading a successful corporate career, Min’s life took a dramatic turn as her young son became critically ill leading her to shift gears to take care of him. Through adversity comes beauty… Min now sculpts and paints in her Cotswolds studio in Oxfordshire. With a remarkable ability to capture emotions in her contemporary sculptures, she has gained
international recognition and has a dedicated following among collectors in the United States, the Far East, Australia, New Zealand and Europe.

Kim Francis first trained as a Jeweller at Central St Martins, London.  Her work evolved from body adornment to sculptural forms as she learnt metalwork, and modelling skills through working in notable bronze casting foundries in the U.K, and the USA. 

She explores materials  and form, creating pieces that express her devotion to witnessing and honouring the inherent character of the materials, as well as the balance and integrity found in the natural world.

She lives and works in the Cotswolds and is a member of the Royal Society of Sculptors.

“Touch is not only an invitation to Kim Francis’s work, it is required to complete its journey, where a particular relationship is aroused between the viewer and the object.’ – Colin Glen Artist ]

Profile

Born in 1967,  John Williams began his career as a ceramicist after completing his degree at Brighton Art College in 1990. Prior to this he studied at Middlesex University from 1986-87.

Williams’s interest in making began in his early teens, when introduced to ceramics by a family friend. This early experience led to a larger deeper interest in making forms with clay. At the age of sixteen he began to study art. Williams’s early work took the form of ceramic sculptural vessels. In 2003 he abandoned the vessel altogether and began making sculpture based on the human figure.

Born partly from his own family experience, Williams has demonstrated a commitment to inspiring younger generations to create and articulate their understanding of the human condition. An example of this was the staged construction of a walkway of seven sculptures in the grounds of a local Academy school. Part time teaching has enabled him to sustain his studio practice.

In 2004 Williams was awarded the Freakley Prize for the Most Outstanding Portrait Sculpture by the Society of Portrait Sculptors, Cork Street. In 2007 he was awarded a Life Model Bursary from the Society of Portrait Sculptors and in 2008 he won a bursary for membership of the Royal Society of Sculptors. Williams has exhibited with Osborne Samuel and Beaux Arts, Bath. He recently completed a commission for Househam Henderson Architects to commemorate the site of a disused quarry. His work can be found in private collections in Britain, France Portugal and America

Now living and working in north London, Williams splits his time between the UK and the Dordogne region of France.