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LAURENCE EDWARDS A.R.B.S (B. 1967) Rush, 2011

41.00cm wide (16.14 inches wide)
48.00cm high (18.90 inches high)
18.00cm deep (7.09 inches deep)
Description / Expertise
LAURENCE EDWARDS A.R.B.S (B. 1967), Rush, 2011

Bronze, this sculpture is cast in a series of 9 versions using the same head, but the organic matter cannot be reproduced so each sculpture in the series will have distinct differences.
Signed. No 1 of 9 versions.
Height 48 cm., Length 41 cm., Depth 18 cm.,

‘ There are a myriad of threads that lead to 'Rush'. The big idea is the fusion of figure, bronze and environment and that environment is the immediate landscape surrounding the studio (reed beds and marsh). But rather than fusing the organic matter with the body, I wanted this figure to look adorned, I wanted to deal with the idea of camouflage and disguise. This furtive character is not keen on being identified or exposed, he is looking for some sort of cover, retreat. I think this sense of rushing for cover, adds a mysterious layer, is the figure, a fugitive or just shy , sinister or fearful? I would not like to commit to a definitive story, as for me like the creative process and indeed life itself, this ambiguity is what makes it interesting. ‘

£ 6,000 inclusive of vat

Edwards work echo’s his feelings for the Suffolk landscape. His figurative sculptures absorb forms from the landscape, fused with plant matter, and reflect the survival of an ancient culture. ‘ Sometimes I think that this place, this part of Suffolk, has made me. At least I am sure it has made the way I see.

Inspired by the marsh next to his studio and foundry in Butley Suffolk, Rush is cast directly with organic material. The grasses and reeds in these unique casts have been burnt out inside a mould in a kiln, bronze was then poured into the spaces that were left. An exciting process as everything can be lost during the pour, the holes and spaces, are areas where the bronze didn't get to, the nails are core pins left. Leaving these elements as clues; for Laurence adds to the story of the piece, and helps to evoke other readings of the work and links to landscape.

Edwards knowledge and ability to be able to cast his own work is unusual and provides him with artistic opportunities that the majority of sculptors who hand over the casting process to independent foundries relinquish. Edwards was taught the lost wax, Cire Perdure method of casting bronze by Tissa Rasinghe at the Royal College of Art. He passed on the knowledge and techniques which he had learned from the infamous Angeloni Brothers, a generation of Italian casters whose knowledge of has been passed down the family line since the Italian Renaissance. Edwards went on to travel in India and Nepal working with traditional casters and discovered ‘ the space one can find in a process and how character can be given to an object through the personality of the caster that delivers it. Casting has now worked its way into my thought process, so that I plan to solve problems at various moments. I can allow the process to make marks and leave scars, it is like another mind.’

Edwards sculptures evolve from each other and manifest into different forms as he develops his ideas so that in a sense they are never finished, mirroring evolution. ‘ Sometimes I think this is because I have always been frustrated at finishing a bronze and realizing, as I complete it, that I have filed and polished the story of its making away. In my imagination this figure has always been bigger than me, so that it isn’t just continuous and unfinished, but large enough to carry the weight of the many things I haven’t yet worked out…… I will cast him into bronze and his clay remains, which under other circumstances I would discard, I will keep, revive, repair and work on again to create a second giant. This giant will represent and evolution, and advancement; one that I realize will mirror my own evolution. If I keep saving and rebuilding the clay figures after every casting, I will end up with a series of figures, all derived from the same sculptural gene pool. They will develop with me through time, retaining elements and physiognomies. A tribe or dynasty of figures will emerge.’

I always make smaller work at the same time as undertaking a large project. This parallel activity can offer challenges, directions for the larger figures to go in, or leave reminders of ideas to persue at a later date.

Water shapes the world here, sweeping in to touch and change everything. My studio is by this water on Butley Creek, on the frontiers of the sea; a land of heath and wood, mud and marsh and tide. Every day the water floods in over the marshes, and chews at the cliffs. In the space of a morning, a vista that shimmers with water drains to slurp with mud. Water changes the pressure in the air, and in turn the thoughts in the head. I experience these changes constantly. I see the water lap up to the flood defences surrounding the studios, I know that one day it will overwhelm this place. Some would say that this land around me is flat. For me it undulates. It has secret places, enough to sustain an inquisitive mind. It has mystery. In the distance a slight incline marks a Saxon burial ground, under this ground are 600 bodies dissolved into sand. ‘
United Kingdom
gbp 6000.00 (Pound Sterling)
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