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Sculpture Vulture

Sculpture Vulture

By Antique Bronze
Interviews and Inspiration From The World of Sculpture.

Join, Lucy Branch, sculptural conservator and author, as she talks to sculptors whose work can be found in public spaces. They discuss their creative journeys, their artistic practice and their shared love for all things bronze. Find the show notes at www.sculpturevulture.co.uk and download your free novel.
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Talent, Persistence and Equestrian Sculpture with Amy Goodman

Sculpture Vulture

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Barbara Hepworth, Dyslexia and Dynamic Abstract Sculpture with Hugh Chapman
Today, Lucy Branch, talks to Hugh Chapman, on The Sculpture Vulture Podcast. His abstract, dynamic sculpture plays with light and form and elicits profound reactions from his audience. Hugh's work is part of the magnificent sculpture collection at Canary Wharf, London, and is enjoyed by many thousands of visitors each year. Today we discuss his inspiration, creative life and journey as a professional sculptor.  Join us and BE INSPIRED BY SCULPTURE.  You can find images of Hugh Chapman work and a transcription of the interview at https://sculpturevulture.co.uk/abstract-sculpture-with-hugh-chapman If you are looking for a new book, the novel mentioned in this interview is currently available free from Sculpture Vulture. This podcast was brought to you by Antique Bronze Snippet from the interview: Lucy: I began our discussion today with asking my favourite question, which is if he'd always been creative. Hugh: Yes, I have been ever since I was a boy. I always was very interested in painting, drawing, and making models, and that sort of thing. I was very fortunate in the sense that my parents always encouraged creative activities as much as academic ones, which gave me a great breadth of experience. Lucy: What did your parents do? Hugh: My mum is a retired specialist in pediatric dentistry, and she's currently a visiting fellow in School of Psychology at the University of Lincoln. And she does a lot of research into dental phobia and occupational stress to do with the treatment of patients on behalf of the dentists, and that sort of thing. So, it's a pretty... Lucy: Interesting. Hugh: ...pretty interesting career for her. And my father, he's just retired. He was a research and development software engineer in the world of heating and control systems, which is a bit more exciting and varied than it might sound. I mean, Mum's quite creative at sewing and that sort of thing, which she was taught by her mum. And my dad has painted watercolours and that sort of thing for a lot of his life, and he was designing mobile aircraft as a boy and a young teenager. And we, in fact, still, to this day, fly them together. Lucy: Sounds cool. Hugh: Yeah, yeah. It's good until you crash them. But it's a useful skill as a young boy to learn that when you do crash your model, it is possible to put it back together again. But, no, they were very good. And, in fact, they sacrificed a great deal for me, because, well, I am severely dyslexic, and at school, I was basically...it was resigned to the fact that I was thick. And they remortgaged the house to send me to private school, where education in the arts and creative subjects was actually more prevalent anyway. So, I was very fortunate to go to schools where it was understood that academia wasn't everything, although I did struggle with the feeling that...you know, my brother, he's very academic as well, and in my early life, I struggled with the feeling of I needed to do something academic. And I would have been much better off had I, at an earlier age, established that being a creative person was a good thing and equally as merited as being highly academic.
35:11
November 10, 2020
Talent, Persistence and Equestrian Sculpture with Amy Goodman
Today, Lucy Branch talks to Amy Goodman,  who is probably known best for her Equestrian sculptures such as the much loved, Romsey War Horse and Pegasus and Bellerophon,  but to only mention them would do her a huge dis-service as she’s also the creator of some incredible military monuments, portraits as well as breath-taking abstract sculpture.  Her focus is always to capture the movement and character of her subjects whether that’s bronze portraiture or a few lines of steel. Join us for a In this episode and BE INSPIRED BY SCULPTURE as Amy discusses her creative journey and motivation to become a sculptor, her inspiration and what it takes to be a professional sculptor. You can find a transcription of the interview and images of Amy Goodman’s work at  https://sculpturevulture.co.uk/sculpture-vulture-blog/ Get your free novel about the dark side of the art world from https://sculpturevulture.co.uk/a-rarer-gift-than-gold/ This podcast was brought to you by Antique Bronze Snippet from the interview: Lucy Branch: I began our discussion today by asking her, if she’d always been creative? Amy Goodman: Yes, I’ve always loved art. I love drawing, painting and making things. Also, from a really young age I was resolving ideas in 3D, making sculptural objects like animals and horses. I’ve always loved to challenge myself by making really complicated things, and nature has always fascinated me. So really, even though I was academic, I always gravitated towards the arts. When I got to the GCSE and A-level phase later on in school, arts, pottery and sculpture were the subjects that I naturally went into. Lucy Branch: Fantastic. So was there somebody, like a role model at home, that kindled that interest? Amy Goodman: I think it was always in me. My mum could draw and get a likeness of things and I believe my grandfather, who I didn’t know very well, was quite a talented painter in his spare time. But really, it was something that I’d always just gravitated to and had an affinity with. I used to get accused of watching, I think I was a natural observer. I loved to watch what was going on around me and record it. For instance, in my pottery classes when I was 15, I loved to stay after school late into the evening. I just was fascinated by it. I had to make the most complicated things possible. I once made a “George and the dragon” with outstretched wings, and I gave George a lance for the poor dragon. I loved the challenge, how you have to be an engineer. You’ve got to think about balance and center of gravity, although I didn’t have words for them back then. You’ve really got to know about balance of form and volume, and how they relate to each other, to have a successful freestanding sculpture.
34:17
October 20, 2020
Play, Creativity and Wildlife Sculpture with Hamish Mackie
Today, Lucy Branch talks to Hamish Mackie,  brilliant contemporary wildlife sculptor who has works all over the UK including Cambridgeshire, Derbyshire, Cornwall and London as well as abroad. He recently won The Public Monuments and Sculpture Association Marsh Award for Excellence in Public Fountains with The Goodman’s Fields Horses sculptures in London. His work captures the personalities of all kinds of wildlife and no animal escapes his interest from owls to tigers,  hares boxing to camels.  Hamish discusses his creative journey and how he became a professional sculptor, his inspiration for his work and his love of bronze. Join us and BE INSPIRED BY SCULPTURE.  You can find images of Hamish Mackie's work and a transcription of the interview at https://sculpturevulture.co.uk If you are looking for your next great read, please consider one of my novels which you can find out more about at Sculpture Vulture. This podcast was brought to you by Antique Bronze Snippet from the interview: Lucy: Have you always been creative? Hamish: Yeah, I have. I grew up on a farm in Cornwall so early in my life I was always outdoors doing things on the farm, which was actually quite creative and practical. I used to make endless camps in the hay barn and that type of thing. Always doing things with my hands, life on the farm was full of creativity. It was great fun. Lucy: So it was a real outdoorsy, a kind of Gerald Durrell experience. Hamish: Yeah. Mum used to have a bell that meant it was either time to eat or time to go to bed. That used to be rung outside when it was time to come in. Lucy: That's fantastic. I need one of those. Though my children would just ignore me. Hamish: We've taken it up here. We've got one in the house instead of screaming at the children. It's good. Lucy: Brilliant. So was there a creative aspect like art or drawing that went alongside all the playing and things like that? Hamish: There was to a degree. I was lucky to have a really inspiring art teacher when I was young. I've never been particularly into words and English, but I've always been creative and I've always loved making things. My art teacher at school was very supportive of that. To the extent that when I was about 14, I made a little cow head out of wax and cast it in lead myself over an outdoor fire. I don't think health and safety would agree with it nowadays. So yeah, I had always enjoyed making things and I was surrounded by wildlife and animals on the farm so there was always lots of early inspiration. Lucy: But it wasn't your mum doing anything at home of that ilk? Or a family member that showed you the way? Hamish: Weirdly no, not really. Dad was in the army and then a farmer. Mum isn't a painter or anything. My grandfather was quite creative, he was always making things but that certainly wasn't considered the norm. I think a lot of our great grandparents' generation would have sketched and drawn and made things in the evenings when they weren't watching telly. Other than that, no, there's no history of it in the family. But my brother is also doing it so that's another weird one.
30:19
September 29, 2020
Food, Entrepreneurship and Figurative Sculpture with Michael Speller
Today, Lucy Branch talks to Michael Speller,  charismatic contemporary sculptor who has many works in public places in the UK including outside the iconic Millbank Tower in London, Greenwich Hospital and Loch Lomond as well as abroad.  His work is all about distinctive figurative forms which play with ideas around balance and rhythm in our lives.  Michael discusses his creative journey in becoming a professional sculptor, his inspiration and his love of bronze. Join us and BE INSPIRED BY SCULPTURE.  You can find images of Michael Speller's work and a transcription of the interview at https://sculpturevulture.co.uk/figurative-sculpture-with-michael-speller/ If you are looking for a new book, the novel mentioned in this interview is currently available free from Sculpture Vulture.  This podcast was brought to you by Antique Bronze Snippet from the interview:  Lucy: I began our discussion today by asking him, if he'd always been creative? Michael: Yes. I've been creative all my life in different guises, really. I suppose the first thing was I created my own mobile beach cocktail bar and ended up taking it to Corfu and doing a summer in Corfu. So, there was a commercial element to it, but also the most important thing to me was just creating something that had never been created before. And this was like a big ball wheelbarrow but built up with a wooden stretcher and a trap door underneath a parasol with a parrot called, Harriet, hanging off the side of it and crushed ice underneath and cocktails. Now, the funny thing with it, the whole idea was it was supposed to move but basically it never moved because everyone ran to me and were so enthusiastic about this mad thing on the beach that I always had queues and I was handing in brochures the next summer to all of the core marketing people. Lucy: That's fantastic. really entrepreneurial as well. Michael: Exactly. And then progressing from that my catering element was where I started…that's what I did at college. I did a catering management course at Oxford Poly as it was then. Then I went on to start my own catering business which, again, was a little bit unusual. We're talking a hell of a long time ago now but it was the first, sort of, delivery service. This is before even pizzas were delivered or they were just starting to be. This was an up-market delivery service with monkfish and prawn sort of pies and loads of exotic ingredients. And I was racing around in a dinner jacket serving these in Blackheath and Greenwich. Lucy: I bet they loved that.
41:11
September 8, 2020
Farming, Creativity and Bronze Sculpture With Rodney Munday
In today's interview, Lucy Branch, speaks with Rodney Munday, whose work can be found up and down the UK including The Minster Church of St Andrew, Plymouth, Oxford and Cambridge University and Chichester and Worthing Hospitals to name only a few.  Rodney's work is figurative though his range is wide. He has created many Christian themed sculptures, but also animals and commemorative works in bronze.  Today Rodney shares his thoughts on his creative journey, his inspiration and his love of bronze. Join us and be inspired by sculpture.  You can find images of Rodney's work and the transcription of the interview at https://sculpturevulture.co.uk/bronze-sculpture-with-rodney-munday/ If you are looking for a new book, you can get the novel mentioned in this interview for free from Sculpture Vulture. This podcast was brought to you by Antique Bronze   Snippet from The Interview:  Lucy: I began our conversation today by asking if he'd always been creative? Rodney Munday: Well, my creative journey really goes back as long as I can remember. I've always drawn and as a child, I used to make little plasticine figures. And when I first went to school, I was given some little plaster molds for pushing plasticine into for taking...demolding little bits of sculpture really and that memory has always stuck with me and I think when I started making molds for my own work, that all came back. So yes, it's been a long journey.  Lucy Branch: Was it always going to be your profession or did life take you in another direction first? Rodney Munday: I suppose life's taken me in a lot of different directions. When I was up to the age of about 11, I thought I'd be a writer and from then on, I wanted to be an artist. But I only really thought about painting because I went to a very good school, art wise. While I was doing A level, I was doing life drawing with professional models every week, but I hadn't done any three-dimensional work though the teacher there told me that I drew like a sculptor. I went to art school but I gave up after a week for all sorts of reasons, really, but one I think was perhaps that it came as a bit of a disappointment after the education that I had at school. Then I thought that I needed to make up my mind quickly because for one thing, at that age, three years is a long time ahead of you. I felt that I needed to make a decision as to what I was going to do and I went back to school and it was just in time to take the Oxford entrance exam. I then read English for three years and one of my main tutors was a sculptor which was interesting.  Lucy Branch: Well, that sounds to me like it was meant to be. There's no way around it. Rodney Munday: I continued to draw and paint and started sculpting after I left Oxford really. Most of my time was taking up farming because I was born on a farm and that was my profession for a long time. The sculpture just crept in
39:40
September 5, 2020
Women in Sculpture and Stories in Bronze with Hazel Reeves
Hazel Reeves is a brilliantly talented sculptress who tells stories in bronze.  In recent years she has secured several prestigious commissions among them the Sir Nigel Gresley sculpture in Kings Cross, London commemorating the engineer and innovator of steam trains, and the Cracker Packer statue dedicated to the women who have worked in the Carrs biscuit factory, now McVitie’s in Carlisle, for over a hundred years. I’ve been keen to talk to Hazel ever since I was involved in doing some preventive conservation work on her incredible sculpture of Emmeline Pankhurst, Our Emmeline, in the centre of Manchester.  Today we discuss her creative journey and why she loves telling stories in bronze. Join us for this lively chat and to look at examples of Hazel's work and read the transcription of the interview, go to www.sculpturevulture.co.uk/hazelreeves/  Sample of Interview (Transcription) Lucy: Today, I thought I’d kick off our chat by asking when she first felt drawn to creating sculpture? Hazel: Well, I think you have to go back to when I was younger and I was desperate to go to art school and my parents said, ‘No!’ And so, I sort of forgot about that artistic career for many years. Then I was in the Dominican Republic working with the UN on women's rights and I suddenly got back in touch with all the things I was passionate about: music, drumming, dancing, arts. When I came home, it just came to me that I was going to be a portrait sculptor, which was quite bizarre because I'd never actually done any sculpting nor any portraits, but it's the only time in my life I've actually suddenly realized I had a calling. Lucy: Did your parents have nothing to do with the arts? Was it very alien to them? Is that why they discouraged it or was it that it wasn't a proper job? Hazel: Oh, all of the above. According to my mum, art is a luxury and you only did arts if you couldn't do anything else. My eldest sister was already at art school and I think they were also worried about having two penniless artists in the family. So it was like, "No, you're more academic. You could go off and go to college." And so it was many years later that actually I rediscovered that this is what I should always have been doing. This is my journey and I wouldn't be the sculptor I am now if I hadn't been on that journey. Lucy: So it definitely was something that came to...you'd had to sort of squash it down for quite a long time. I wonder what it was about the Dominican Republic that brought it all to the forefront of your mind. Is it the environment there? Is it a creative place? Hazel: It's a very creative place. I really got into the Afro-Dominican folkloric scene there. That's very much about their music and the dance but it was also a very vibrant place, a very creative place, a very musical place. Also, you're completely out of your normal environment. Making that transition from the UK to that sort of country, where there is deep poverty in some places, but also working with the UN was a tremendous experience. It was particularly the nightlife and the nights out dancing that just really sort of shook my whole system up. It was like, ah, yeah, I'm actually not somebody to be sitting at a desk. Get your free novel from https://sculpturevulture.co.uk/a-rarer-gift-than-gold/ where sculpture is always at the heart of the story.
48:09
July 27, 2020
Camden Minisode
The Stables in Camden is home to the Amy Winehouse statue by Scott Eaton. I talk about the recent conservation work I carried out on this beautiful bronze and recommend two other sculptures to visit if you want to be inspired by sculpture. Images of the statues and transcript can be found at https://sculpturevulture.co.uk/sculpture-to-visit-in-camden-mini-episode/ Get your free novel from https://sculpturevulture.co.uk/a-rarer-gift-than-gold/ where sculpture is always at the heart of the story.
06:35
July 21, 2020
Madingley Minisode
This minisode is inspired by my recent project working on a War Memorial in Madingley, Cambridge. It's an area you may never have thought to visit but one which all Sculpture Vultures will appreciate.  If you'd like to see photos of the Madingley Parish Church, Madingley Hall, The Cambridge American Cemetery and Sculpture at Churchill College - Do take a look at the blogpost at https://sculpturevulture.co.uk/sculptures-and-monuments-in-madingley-cambridge/ Get your free novel from https://sculpturevulture.co.uk/a-rarer-gift-than-gold/ where sculpture is always at the heart of the story. 
05:23
July 14, 2020
Welcome To The Sculpture Vulture Podcast
In this solo-show, meet, Lucy Branch, the host of The Sculpture Vulture podcast and find out about the incredible sculptors that will be featuring in the first season. Find out more about the show at www.sculpturevulture.co.uk  Get you free novel from https://sculpturevulture.co.uk/a-rarer-gift-than-gold/ where sculpture is always at the heart of the story. 
13:12
July 7, 2020