Sculpture in the Garden: a Celebration of the RBS Centenary8 July - 26 September 2005Harold Martin Botanic Garden

Exhibition atHarold Martin Botanic GardenUniversity of LeicesterStoughton Drive SouthOadbyLeicester LE2 2NE

Open every day 10am – 4pm8 July to 26 September 2005(visitor entrance in Glebe Road)

For further information about purchasingthe sculptures please contact

Mrs Jo WoodVice-Chancellor’s PAUniversity of LeicesterFielding Johnson BuildingUniversity RoadLeicester LE1 7RHTel: 0116 252 2322Email: vc@le.ac.uk

For further information about the artistsplease contact

Jacquelyn MurphyExhibition and Events ManagerRoyal British Society of Sculptors108 Old Brompton RoadLondon SW7Tel: 020 7373 8615Email: exhibition@rbs.org.ukwww.rbs.org.uk

CAROLE ANDREWS

MARY ANSTEE-PARRY

SALLY ARNUP

BARBARA ASH

PATRICK BARKER

JAY BATTLE

JOHN SYDNEY CARTER

OLIVIA CLIFTON-BLIGH

SOPHIE DICKENS

STEPHEN DUNCAN

WENDY EARLE

JOAN EDLIS

ADAM FARKAS

LORNA GREEN

JOE HILLIER

SIMON HITCHENS

DEIDRE HUBBARD

POLLY IONIDES

DYLIS JACKSON

GILES KENT

ROBERT KÖGEL

BEAT KRIEMLER

PAUL FRANK LEWTHWAITE

DIANE MACLEAN

JANET MACLEOD

BRIDGET MCCRUM

BARRY MASON

CHARLOTTE MAYER

RUTH MOILLIET

TERRY NEW

PETER NEWSOME

GUDRUN NIELSEN

ERIC STANFORD

CHRISTY SYMINGTON

ALMUTH TEBBENHOFF

GUY THOMAS

JEREMY TURNER

MARCUS VERGETTE

SHEILA VOLLMER

JOHANNES VON STUMM

GRAHAM WILLIAMS

DAVID WORTHINGTON

Participating artists:

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W E L C O M E

Professor Robert Burgess, Vice-Chancellor, University of Leicester

Professor Brian Falconbridge, President Royal British Society of Sculptors

This is the fourth year when the University has had the pleasure of hosting a majorsculpture show in the Botanic Gardens. I am delighted that this year finds us

hosting an exhibition for the Royal British Society of Sculptors who celebrate theirCentenary.

The work in this year’s exhibition demonstrates how major works of art can helpto develop features of the gardens in which they are located. It also highlights thetalent and creativity of the artists which enhances the work of those who care forour gardens.

During the summer I hope this exhibition will attract many people into ourgardens and give them great pleasure. Finally, I would like to thank members ofthe Royal British Society of Sculptors as well as members of the University whohave given generously of their time to make the exhibition a great success.

Professor Robert Burgess

Dedicated to ‘promoting the art and practice of sculpture’, the Royal BritishSociety of Sculptors marks its centenary as an organisation in 2005. The

current exhibition, ‘Sculpture in the Garden: a Celebration of the RBS Centenary’organised in collaboration with the University of Leicester, is part of a 5-yearprogramme of celebrations. This, the first exhibition, focuses on larger sculpture inan outdoor space and is complemented by an exhibition of smaller interior workcurrently on show at the RBS – Inside Annual 2005.

Collectively the works on show demonstrate that sculpture is a medium that iscapable of endlessly renewing itself and responding creatively to materials andsituations. I thank the sculptors, both UK-based and international members, fortheir generosity in making their work available and colleagues within the RBS forbringing the exhibition together.

Sculptors thrive on opportunities to present their work to wider audiences and Iam grateful to the Vice-Chancellor, Professor Burgess for his enthusiasm andsupport and to the University of Leicester for its continued and welcomecommitment to sculpture.

Professor Brian Falconbridge

P A R T I C I P A T I N G A R T I S T S

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Sally Arnup FRBSUK

I work almost entirely from birds andanimals and often have these creatures inmy studio. Most of the sculpture is inbronze, occasionally in ceramic. TurkeyHen was a commission for BernardMatthews – not many people havedelivered a turkey to this man onChristmas Eve!

Sally Arnup studied sculpture at theRCA and since then has been practicingfull time. She has exhibited widely andhas had commissions in Canada, America,France, Italy and the UK. Most recentlyArnup has completed a commission forthe Duke of Edinburgh for one of his Fellponies.

Mary Anstee-Parry ARBSUK

I have a great love of gothic andrenaissance carving admiring both thecraftsmanship and sense of design. It isimportant for me to contemporise theseskills by bringing into a modern contextthe essence of the elegant, witty designswhich were so typical of the 14th, 15thand 16th centuries.

Mary Anstee-Parry studied sculpture atNorwich School of Art followed, someyears later, by a period of study intraditional woodcarving and gilding atthe City and Guilds Art School, London.She now pursues her sculptural ideasthrough carving and drawing. Sheteaches traditional woodcarving andletter-cutting.

Carole Andrews FRBSUK

This piece began from studying thevegetation around a garden pond. Thejuxtaposition of leaves and stems wereabstracted and developed into loosespirals of stainless steel with acrylic discs.These move gently in the wind catchingsunlight and colour from thesurroundings.

Carole Andrews manipulates twodimensional materials into threedimensional form to make sculpture withan organic influence. Movement,reflection and translucence have becomeimportant factors in her work. She hasexhibited widely around the UK and inthe USA in both gallery and landscapesettings.

Lightwavestainless steel, acrylic200 x 50 x 50 cm (x 3)

FishweaveKilkenny limestone60 x 60 x 15 cm

Turkey Henbronze79 x 30 x 56 cm

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Jay Battle ARBSCanada/UK

I am interested in the physical presenceof man-made forces that exist to provideus with strength within our naturalenvironment. ‘Slated Divide’ uses iron toimpose a uniform boundary. The iron alsoillustrates a level of control over naturalmaterials and our ability to reorder theenvironment to our advantage.

Jay Battle was born near Toronto in1966 growing up strongly influenced byhis father’s civil engineering work. Hemoved to England in 1989 and has beenexhibiting his sculpture since 1995,working full time from his studio inWiltshire.

Patrick Barker ARBSUK

What interests me are the rythmns andpatterns created by the human form;laced with a little bit of humour.

Patrick Barker trained at the BathAcademy of Art. He exhibits throughoutthe country as well as abroad and haswork in collections world wide. In the UKhis work is included in various collections.

Barbara Ash ARBSUK

In my work I employ narrative plusjuxtaposition to look at areas of socialconditioning and hierarchies. I usechildhood themes and objects asmetaphors of power, personality anddevelopment. I often incorporate humourand kitsch to address these issues in asomewhat sardonic fashion.

Barbara Ash studied at MiddlesexPolytechnic and the Royal College of Art.Her career has a number of strands,which include site-specific temporaryinstallations made from mixed media,large scale private/public commissions instone and small scale bronze sculpturefor galleries.

EveBath stone, base: York stone185 x 53 x 63 cm

Round and AroundClerris stone (French limestone)130 x 95 x 40 cm

Slated Divideiron, slate270 x 50 x 40 cm

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Olivia Clifton-Bligh ARBSUK

‘Moon Dog’ is a serpentine hound. Ihope his fluid form, his hollows andholes, invite hands to follow and revealthe landscape of his body. I search forexpectant stillness, suspended in abronze breath on the brink oftranscending his clay bulk and singing hisdesires to the sky.

Olivia Clifton-Bligh works in bronze,paper, clay and wire. She studied atGoldsmiths College, University of Londonand now lives and works from hersculpture studio in the West Country. Sheexhibits her work throughout the UK.

John Sydney Carter ARBSUK

‘Fish Totem’ is part of a series of fishsculptures where I was experimentingwith the idea of the bones of the fishappearing on the outside and creating astructural form. The sculpture was madefrom a combination of welded metal andplaster and then cast in bronze.

John Sydney Carter has beenexperimenting in sculptured forms sincethe fifties producing a coherent body ofabstract works relating to man andnature. In the last ten years, a distinctiveimagery has emerged around water,swimmers, waves, birds and fish andinspired by the East Coast where he sailshis yawl.

Fish Totembronze, ed 3178 x 58 x 48 cm

Moon Dogbronze 119 x 40 x 60 cm

Sophie Dickens ARBSUK

This installation is part of a series of ‘SkyWalking’ sculptures that respond directlyto their surroundings. A beautiful gardendemands admiring wanderers who seekout its many aspects.

Sophie Dickens trained as an art historianbefore studying sculpture and anatomy.She uses traditional figurative themes,reinventing them with an emphasis onthe interplay between concave andconvex, line and void. Her work is oftensite-specific and is intended to animatethe space that it inhabits.

Walking the Dogoak, stainless steel, epoxy glue190 x 225 x 35 cm

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Wendy Earle ARBSUK

‘Insect Stick’, with its caterpillar, spider,dragonfly larva and fly, is modelled in clayfollowing observation in the wild. Afterfiring to frost-proof, the pieces werethreaded together where they remainforever nose to tail in line.

For most of her working life as asculptor, Wendy Earle has lived inCeredigion. She has exhibited throughoutBritain and sold in both Europe and theUS. The Arts Council of Wales haverecently financed a catalogue of her work.

Stephen Duncan ARBSUK

‘River God’, from my ‘Arcadia’ and ‘LeafGod’ series was begun while I held theRome Prize in Sculpture. I was inspired bythe memory of the reclining river godslining the River Tiber. Using direct castsfrom acanthus leaves to make these largefigure sculptures, this series exploresanalogies between leaf and humananatomies and the symbolism ofregeneration in acanthus and ‘GreenMan’ imagery.

Stephen Duncan trained at WimbledonSchool of Art, the Royal Academy and theAccademia in Rome. He won the RomePrize Award in Sculpture and Critics Prizeat Milan Miart. He has completed manypublic commissions throughout the UK.

River Godbronze 40 x 80 x 30 cm

Insect Stickfired clay threaded onto pipe 170 x 16 x 20 cm

Skywellsmixed coppice rods180 x 960 x 770 cm

Joan Edlis ARBSUSA/UK

Architecture, object or experience? Thiswork operates on these three conditionssimultaneously or sequentially but onlywhen put into perspective by thepresence of the visitor. Insubstantial wallsserve to distinguish outside or inside, faror near, up or down, inside or outsideand close or closer. Context changes scalefrom monumental to individual and backin a single breath.

Joan Edlis graduated with a BFA inindustrial design and practiced for overtwenty years before re-focusing on avariance of land art, object-basedsculpture merging with architectural formand landscape design. Her intent is to re-engage participants with the naturalworld.

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Adam Farkas ARBSHungary

Initially my development as a sculptorwas inspired primarily by Henry Mooreand Brancusi. Beginning with compact,solid figural stone sculptures I eventuallyarrived at clearly structured abstractsigns. Later I became interested in thesculptural interpretations of entropy. Mystone sculptures I carve myself, theprocess of formation assumes asubstantive role in my work.

Adam Farkas was born in 1944 inBudapest. He began his art studies thereand finished them in Paris in 1969. Hehas worked with larger pieces in thelandscape and in artificial environmentssince 1976. He has been teaching as astudio-leading professor of sculpturesince 1990. Presently he is the Rector atthe Hungarian University of Fine Arts.

Infinite Returnpainted steel 120 x 140 x 155 cm

Lorna Green FRBSUK

The Botanic Gardens lacks a river. I will,therefore, create a river of local stones,laid on the ground, to be sprayed lightlywith metallic paints in shades of bluesand greys representing the water. Thesewill meander from a source of largeboulders to a pool created from stones.

Lorna Green completed a BA Honoursin Fine Art at Manchester Polytechnic anda Masters of Philosophy in Fine Art at theUniversity of Leeds. She is a site-specificsculptor and environmental artist whohas worked throughout the UK andwidely overseas. She works in urban andrural landscapes, indoors and outdoors,on mainly large scale sculptures andinstallations, both permanent andtemporary, using relevant andappropriate materials.

A River for the Botanical Gardenstone, metallic paint20 x 9000 x 150 cm

Joe Hillier ARBSUK

From video footage of a man imitatingprimates, the classical statue is re-modelled as naked, mortal and flawed.This curious beast ponders or ignores amodernist steel structure; fabricated usingthe complex geometry of BuckminsterFuller. Together these sculptures form anunfamiliar language that may speakwithout words.

In order to make ‘Ill Commencement 2’Joe Hillier had to travel and it happenedto be to New Orleans. There he found asense of liberation in being somewherenew. This was needed to investsomething of himself into the ancientmode of sculpture; the human figure re-made in bronze.

Ill Commencement 2a + bbronze, steelH: 120 cm and 240 x 300 x 240 cm

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Polly Ionides FRBSUK

‘Life’ is a growing form. It embodies apoint of balance in a journey throughlife; inviting human interaction as ithovers between growth and renewal andcommanding the space within andaround itself. ‘Life’ was built up aroundsteel welded under tension so its energycomes from the heart of the construction.

Polly Ionides has always been drawn tothe beauty of nature and of naturalforms. A degree in zoology at Oxfordfollowed by study at the Slade School ofArt in London helped to nurture this.Originally a stone carver, she has beenworking increasingly with bronze.

Deidre Hubbard FRBS UK

This piece was primarily conceived as twoharmoniously related abstract forms. Italso hints at both leaf imagery and awaterfowl resemblance – hence the‘Wingless’ title.

Deirdre Hubbard studied at HarvardUniversity (completing a BA in 1957),Chelsea Art School and in the studio ofElisabeth Frink. She has work innumerous public, corporate and privatecollections.

Simon Hitchens FRBSUK

The highly polished upper surfaces act asa mirror to the viewer and it is here thatthe title ‘Soul’ becomes apparent. Thecontrasting surface textures can be seenas a simple metaphor about many aspectsof life; the transcendence of order overchaos, life to death, physical tometaphysical.

Simon Hitchens uses predominantlystone, resin and glass to make highlyrefined and often minimal forms. Heworks on multi-tonned sculptures just asconfidently as producing a hand heldone. He creates sculpture for bothindoors and out. He exhibits and iscommissioned widely throughout Britainas well as abroad.

SoulKilkenny limestone 183 x 53 x 33 cm

Wingless Pairbronze 68 x 61 x 46 cm

Lifebronze, ed 2/9235 x 225 x 225 cm

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Dylis Jackson ARBSUK

‘Stream’ derives from a kinaestheticrelationship between land forms and thehuman body. The sensation of its massand form derives from the process ofgrowth.

Dilys Jackson lives in Cardiff and worksat the Butetown Artists Studios. She hastravelled and worked across the world.Recently she had two solo shows and hashad work in exhibitions in Wales, Ireland,France, Spain and America.

Streambronze63 x 33 x 24 cm

Giles Kent ARBSUK

I create sculptures from wood thatenhance and elaborate its naturalproperties whilst exploring the premisethat visual qualities of nature lie in itssimplicity and repetition. My workresponds to lines, shapes and objectsfound around each particular site. In‘Mixed Hardwood Trunks and Branches’ Iused seasoned wood carved by achainsaw, burnt with a blow torch andtreated for outside durability.

Giles Kent has worked mainly oncommission since 1996, producinginstallations that complement the naturallandscape. He has works located inprivate and public spaces in the UK,Sweden, Czech Republic and Canada.Recently Kent has had solo exhibitions inLondon.

Mixed Hardwood Trunks and Brancheswoodvarious sizes 183 cm (longest)

Robert Kögel ARBSGermany

Identical parts or modules are cut out ofsteel sheets. These parts are assembled –following a discrete constructionprinciple to form a body structure ofhigh density, rhythm and different gradesof regularity.

Robert Kögel was born in 1954 inFrankfurt am Main and lives in Dreieich.Since 1992 he has participated in manysolo and group exhibitions withsculptural work. From 2000 to 2005 hehas been a regular participant inMetalsymposium Riedersbach Museum ofContemporary Metalsculpture, nearSalzburg, Austria.

Spinesteel 175 x 120 x 195 cm

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Paul Frank Lewthwaite ARBSUK

My work has developed from anunderstanding and manipulation ofvarious materials and methods ofconstruction, with a recurring interest inthe use of steel. The industrial practicalityof steel is emphasized by carefulproduction techniques. A use of layeredpaintwork unifies the surface creating abold visual statement.

Paul Lewthwaite was born in Douglas,Isle of Man, in 1969. He is now based inNottingham. Paul has sited large publicsculptures at Chesterfield Courthouse,Greenfield Arts Centre, ManchesterUniversity and Warwickshire College. Hehas exhibited widely including New York,Dallas, Vienna and Madrid and hasreceived numerous awards.

Beat Kriemler ARBSSwitzerland

While visiting the Victoria and AlbertMuseum in late 2004, I was inspired tocreate ‘Inner Moon’. The lock of aChinese 16th century chest with itssimple dividing lines instantly producedthe vision of this sculpture. “To have thevista of the inner moon, one mustmeditate to unlock the space housing it.”

Beat Kriemler was born in 1969 in St.Gallen, Switzerland. From 1990 to 1996he was at the Institute of AmericanIndian Arts and then worked as anassistant for two years to Robert ‘Bob’Haozous in Santa Fe, New Mexico USA.He has had several solo and groupexhibitions in USA, Switzerland, Germanyand Italy. In 2003 he moved from SantaFe to Hauptwil, Thurgau, Switzerland.

Inner Moonfabricated steel, paint, Japanese paper 170 x 170 x 27 cm

Angled Linear Constructionpainted steel 70 x 87 x 59 cm

Bridget McCrum ARBSUK

In an Algerian Museum, whilst looking atBerber tribal artifacts, I saw a riverwashed pebble. A simple stone had beentransformed into a sheep by the incisionof a sickle shaped horn. This work of alamb, cast from stone, can also be readas a fallen ram’s horn capital.

Bridget McCrum studied painting atFarnham and took up stone carving in herforties. Her work has been exhibited atNew Art Centre, Messum’s, BohunGallery, Royal Academy and the ConceptsGallery at Goodwood. She works in stoneand bronze.

Sheepbronze ed 3/4 70 x 150 x 55 cm

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Diane MacLean FRBSUK

The work arose from consideration of thegeometry of flowers. The material,coloured stainless steel, reacts with thechanging light of day. Light entering thecurved sheet at different angles creates avariety of colours which are brightestwhen the sun is at its zenith.

Diane MacLean studied at UCL andHertfordshire College of Art and Design,University of Hertfordshire. She has publiccommissions at universities and hospitalsand has exhibited widely in the UK andoverseas. She has recently created aninstallation at the Natural HistoryMuseum, London.

Janet Macleod ARBSUK

A celebration of beautiful forms, thework is mostly inspired by organicstructures, concentrating on balancedshape and line. The sculpture is apersonal and emotive response executedin bronze, marble or silver.

Janet Macleod came to sculpture froma background of teaching painting andsuccessive restoration of three 17thcentury homes. Her work has developedfrom human figurative work and studiesof pointer gun dogs to more interpretiveand abstract concepts.

GerminationCarrara marble (group of 4)variable sizes: diam 76, 56, 38, 33 cm

Barry Mason FRBSUK

The transience of shadows; light throughwater. The sun and moon as they define thepassage of time. Mankind’s search throughout history forfinite means to capture the infinite. Our cultural icons expressed througharchitecture as well as art. Mistrust of the Age of Reason, in whichinstinct and emotion have been usurpedby the intellect. The death of magic; our loss of ritual.These concerns lie at the heart of mywork.

Barry Mason trained at Reading, TheSlade and Bath Technical College.Working with a wide range of materialsand techniques, he strives to makesculpture that shares his discoveries withwater, sound and light.

Rose Rose coloured stainless steel 90 x 90 x 150 cm

Small Copper Thalescopper, brass, G.R.P. ed 1/12190 x 70 x 70 cm

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Terry New FRBSUK

In recent works the power of nature withits destructive and creative forces is still acontinuous source of inspiration. Whenmaking work I do not work directly fromnature. Indeed, in sculptural terms it is notthe appearance of nature that interestsme. Rather it is the feelings and emotionsgenerated in the imagination which canbe distilled through the line, plane, massand colour to ‘another’ reality.

Terry New studied at Wimbledon andHornsey Colleges of Art beforecompleting his MA at the RCA. He hasexhibited widely internationally and in theUK while at the same time completing anumber of commissions. Terry New hasheld several teaching posts, most recentlyas Head of Fine Art at the Royal AcademySchools.

Nidus IIcold cast iron, mild steel 170 x 230 x 245 cm

Ruth Moilliet ARBSUK

I produce large-scale, highly finished metalsculptures inspired by the plant kingdom. Istudy and work with forms I discoverwithin a particular plant or flower andreveal what is often overlooked in theeveryday; the remarkable forms andintricacies of plant life.

Ruth Moilliet was born in Cheshire in1971 and is based near Manchester. Shereceived an AHRB award in 2000 to studyart as environment, and a Setting UpScheme award from the Arts Board in2001. Her work was awarded a prize inthe Design and Decoration awards 2004.Her sculptures are sold and collectedinternationally.

Charlotte Mayer FRBSUK

The form of this sculpture is derived froma seed head, which I found on the groundnear the tomb of Cyrus the Great atParsagadae in Persia. I was attracted bythe fact that it took the form of a doublespiral. On one side the movement wasclockwise, on the other side anti-clockwise. Both spirals met at the edge sothey formed a continuity. This spoke to meof wholeness and eternity. The sculpturewas carved into plaster and cast in bronze.

Charlotte Mayer was educated atGoldsmiths and Royal College of Art. Shereceived a silver medal in 1991 for hersculpture ‘Ascent’ in the City of London.She has done numerous public works inUK and her work features in corporate,institutional and private collections in UK,Europe, USA and Japan.

Journey 2bronze 100 x 120 x 20 cm

Eryngiumstainless steel 200 x 150 cm

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Gudrun Nielsen FRBSIceland

This wooden structure of modular orderof system and forms is borrowed from atearoom in old Kyoto. Its former functionas a working tearoom disappears herewhere customs and culture are differentand the structure becomes nonfunctional– a showpiece.

Gudrun Nielsen has practised as asculptor in Iceland since 1989. Shestudied mural design at Chelsea Collegeof Art and Design, completing an MA inArt in Architecture from the University ofEast London. Nielson won first prize inthe Greenham Common sculpturecompetition 1998 and her work is to befound in public and private collections.

Peter Newsome ARBSUK

I wanted to explore that synthesis ofstately and sensual qualities whichcharacterize both femininity and glass.The sculpture is constructed from manylayers of glass, each cut and finished byhand. These are resin bonded andlaminated in a similar manner to bullet-proof glass.

Since 1993 Peter Newsome PhD, ARBShas devoted virtually all his energies tothe creation of sculptures in glass, withworks exhibited widely in the UK and inNew York. Techniques Peter developedallow a range of commissions forcelebrity and corporate clients thatbroaden this unique medium’s potential.

Blue Largoglass (bonded and laminated)185 x 57 x 58 cm

Memorywood, washi290 x 270 x 265 cm

Eric Stanford FRBSUK

‘Gaia III’ combines the Wiltshirelandscape and the Gaia hypothesis ofJames Lovelock: “We are parts of agreater whole. Our destiny is notdependant merely on what we do forourselves but also on what we do forGaia (the Earth) as a whole.” (O.U.P. 1995)

Eric Stanford studied sculpture at St.Martin’s School of Art and at theUniversity of Reading after which heworked as an assistant to Eric KenningtonR.A. He has exhibited widely in the UK,France, Germany and the Channel Islandsand has undertaken many private andpublic commissions.

Gaia IIIClipsham stone 37 x 58 x 26 cm

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Guy Thomas ARBSUK

My sculptures are an exploration of spacesin the landscape, both real and poetic. Thesculptures reflect the rhythm and form ofthese spaces. I work in a direct exploratoryway, forging and cutting out shapes withan oxypropane torch. The pieces are thenwelded together to form the finishedcomposition.

Guy Thomas was born in Swanley, Kentand studied at Maidstone College of Artand Bath Academy of Art beforecompleting a postgraduate degree in ArtTherapy. Currently Thomas runs a studionear Bath and facilitates ‘Painting withFreedom’ workshops. He works with steeland bronze and is author of‘Bronzecasting – A Manual of Techniques’.

Crowlinksteel 70 x 106 x 47 cm

Almuth Tebbenhoff FRBSGermany/UK

‘But Only if You Feel the Same Way as IDo’ is a play with angle iron which takesit from a clean, ordered start into arandom disintegration – bringing theseopposite states to a dynamic conclusion.The steel is treated for outdoor use withhot zinc spray and painted.

Almuth Tebbenhoff has developed aunique technique of cutting and weldingsteel which gives it a paper-like lightness.In 2004 she made a large steel sculpturefor St. George’s Hospital in South Londonand she won an Arts Council award.

Christy Symington ARBSUK

The interface between humanity, itscultural beliefs and its environment, boththrough construction and destruction,leaves visual scars as memory. ‘HumanIntervention: Nature’ bears the physicalimpressions of human manifestations onnatural form and ‘Human Intervention:Remembrance’, like a tombstone,symbolizes the memory of that which isnow absent.

By defamiliarising materials throughprocess, Christy enjoys expanding theexpected use of material to a refreshingalternative. She reflects on a primalinteraction between humanaction/response and nature. She hasstudied and exhibited in New York, Parisand London.

Human Intervention: Naturepigmented plaster, sand 215 x 70 x 65 cm

But Only if You Feel the Same Way as I Dopainted fabricated steel200 x 80 x 110 cm

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Does Not Contravene Planning Regulationspallet, pallet truck, plywood, pine, ratchetstraps 274 x 122 x 122 cm

Jeremy Turner ARBSUK

I am interested in making objects andcombinations of objects that don’talready exist and am fascinated by thecontext for sculpture, be it a gallerysetting, installation or outdoor space. Asa sculptor I am excited by the potential ofwork becoming greater than the sum ofits parts.

Jeremy Turner completed a PhD insculpture by practice in 2001 andcontinues to exhibit widely in group andsolo shows. He lectures within thedepartment of Contemporary Art Practiceat the University of Leeds and is a visitinglecturer to Lincoln School of Art andDesign, University of Lincoln.

Marcus Vergette ARBSUK

Bells have been central to exertingauthority – politically, spiritually andtemporarily. The idea for this sculpturebegan when my neighbour rang thechurch bells all day – the first time in sixmonths – after movement restrictionswere lifted at the end of the foot andmouth epidemic. There is somethinguniversal, profound and spiritual werecognize in a bell with resonance;symbolically as well as acoustically.

Marcus Vergette studied painting atCentral School of Art and aftergraduating began to make sculpture. Hehas been commissioned and exhibitedinternationally. He works with a variety ofmaterials and during the past few yearshas been making films.

Pattern Makercast iron100 x 120 x 120 cm

Sheila Vollmer ARBSCanada/UK

First exhibited at the Chelsea PhysicGarden, ‘Hive’ is based on the image of abeehive. Constructed of clear and yellowglass blocks secured with clear siliconesealant, the whole structure has a subtletwist in composition so that the viewsaround it also fluctuate in density, lightand colour.

Canadian born, Sheila Vollmer madeLondon her home in 1987, after a postgraduate in Sculpture at St. Martin’sSchool of Art. She has exhibited andundertaken commissions nationally andinternationally. Recently her work wasincluded in the Goodwood maquetteexhibition in the Guggenheim Museum inVenice.

Hiveglass blocks, silicone sealant, perspex117 x 75 cm

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David Worthington ARBSUK

The relationship of object, material andaudience is reflected in these pieces.‘Link’ is an opening, smooth and inviting.It is a very formal stone object but can beseen as a maquette for a giant piece.‘Unexpected’ requires the audience toinvestigate the sculpture to discover itshidden delights.

David Worthington was born in London1962. He trained in Spain and New York,and in 2001 achieved an MA in VisualCulture from Middlesex University. Anassistant to Anish Kapoor, he has carriedout public and private commissions.

Graham Williams ARBSUK

My work is abstract, concerned withhuman reactions to each other and ourworld. For imagery I react to the naturalworld, not to copy it but as a startingpoint for an exploration. My materialswill endure. Positive growth, light andmovement are usually involved.

After twelve years in commercial art,advertising and publishing GrahamWilliams began, in the 1970s, printingbooks by hand and making woodengravings. In 1987 he changed tosculpture. Work by Williams can be foundin eleven countries around the world andhe regularly exhibits at Annely Juda FineArt in London.

Syrinxstainless steel (group of 3)H 240.5, 192.5, 151.2 cm

LinkPortuguese marble 90 x 43 x 20 cm

Johannes von Stumm FRBSGermany/UK

In his ‘Immaterial Figure’ series, VonStumm has eliminated the shadows tocreate figures of light and ultimatetransparency. These powerful sculpturesuse the negative space to let light intoincreasingly complex forms. These worksshow his continual wish to translate andtransform into solid sculpture thetransitory effects of light in order to de-materialize the image in space.

Johannes Von Stumm was born in1959 in Munich, Germany and studied atthe Academy of Fine Art, Munichbetween 1984 - 88. He now lives andworks in the UK and opened his presentstudio in 1995 in Wantage, Oxfordshire.He has been a Fellow of the RBS since1997 and was made a member of theDeutsche Kuenstlerbund, Berlin in 2005.

Offeringbronze 140 x 80 x 115 cm

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S C U L P T U R E L O C A T I O N S I N T H E H A R O L D M A R T I N B O T A N I C G A R D E N

1 Marcus Vergette page 14Pattern Makercast iron

2 Beat Kriemler page 9Inner Moonsteel, paint, Japanese paper

3 Terry New page 11Nidus IIcold cast iron, mild steel

4 Simon Hitchens page 7SoulKilkenny limestone

5 Jay Battle page 3Slated Divideiron, slate

6 Guy Thomas page 13Crowlinksteel

7 Polly Ionides page 7Lifebronze

8 Barry Mason page 10Small Copper Thales copper, brass, G.R.P.

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9 Jeremy Turner page 14Does Not Contravene PlanningRegulationspallet, pallet truck, plywood, pine,ratchet straps

10 Janet Macleod page 10GerminationCarrara marble

11 Charlotte Mayer page 11Journey 2bronze

12 Lorna Green page 6A River for the Botanical Gardenstone, metallic paint

13 Joan Edlis page 5Skywellsmixed coppice rods, twine

14 Wendy Earle page 5Insect Stickfired clay threaded onto pipe

15 Wendy Earle page 5Bird Boxplywood, gold leaf, malachite

16 Sally Arnup page 2Turkey Hen bronze

17 Sally Arnup page 2King Charles Spanielbronze

18 Bridget McCrum page 9Sheepbronze

19 Olivia Clifton-Bligh page 4Moon Dogbronze

20 Graham Williams page 15Syrinxstainless steel

21 Graham Williams page 15Folded Steel Leavesstainless steel

22 Deidre Hubbard page 7Wingless Pairbronze

23 Stephen Duncan page 5River Godbronze

24 Barbara Ash page 3EveBath stone, base: York stone

25 John Sydney Carter page 4Fish Totembronze

26 Mary Anstee-Parry page 2FishweaveKilkenny limestone

27 Dylis Jackson page 8Streambronze

28 Diane MacLean page 10Rose Rosecoloured stainless steel

29 Peter Newsome page 12Blue Largoglass (bonded and laminated)

30 Carole Andrews page 2Lightwavestainless steel, acrylic

31 Sheila Vollmer page 14Hiveglass blocks, silicone sealant, perspex

32 David Worthington page 15LinkPortuguese marble

33 David Worthington page 15UnexpectedRed Wilderness sandstone, pipe clamp

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34 LAWN 1

Adam Farkas page 6Infinite Returnpainted steel

Robert Kögel page 8Spinesteel

Paul Frank Lewthwaite page 9Angled Linear Constructionpainted steel

Almuth Tebbenhoff page 13But Only if You Feel the Same Way as I Dopainted fabricated steel

35 Ruth Moilliet page 11Eryngiumstainless steel

36 Jeremy Turner page 14Watch and Praysand cast brass

37 Eric Stanford page 12Salome Monks Park Bath stone

38 Eric Stanford page 12Gaia III Clipsham stone

39 LAWN 2

Patrick Barker page 3The ButterflyLepine stone

Patrick Barker page 3Round and AroundClerris stone (French limestone)

Joe Hillier page 6Ill Commencement 2a + bbronze, steel

Christy Symington page 13Human Intervention: Remembranceplaster, glasswax, Astroturf

Christy Symington page 13Human Intervention: Naturepigmented plaster, sand

Johannes von Stumm page 15Offeringbronze

40 Giles Kent page 8Mixed Hardwood Trunks andBrancheswood

41 Sophie Dickens page 4Walking the Dogoak, stainless steel, epoxy glue

42 Gudrun Nielsen page 12Memorywood, washi

For further information about purchasingthe sculptures please contact

Mrs Jo WoodVice-Chancellor’s PAUniversity of LeicesterFielding Johnson BuildingUniversity RoadLeicester LE1 7RHTel: 0116 252 2322Email: vc@le.ac.uk

For further information about the artistsplease contact

Jacquelyn MurphyExhibition and Events ManagerRoyal British Society of Sculptors108 Old Brompton RoadLondon SW7Tel: 020 7373 8615Email: exhibition@rbs.org.ukwww.rbs.org.uk

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R O Y A L B R I T I S H S O C I E T Y O F S C U L P T O R S

With its diversity of practicing sculptors and single focus, the RBS is uniquelyplaced to fulfill its objectives – to promote the art and practice of sculpture

as a dynamic and relevant art-form within contemporary society. It aims to be aprimary authority for any issues relating to sculpture, to run the UK’s internationalcentre of sculpture, to build a greater audience, awareness and experience ofsculpture and be a resource to contemporary sculptors (members and registeredsculptors) in all aspects of their practice and art.

It is a registered charity which promotes the art of sculpture, particularly thewidespread understanding of contemporary work. Leading sculptors involved overthe years include Sir Hamo Thorneycroft, Alfred Gilbert, Ivor Roberts-Jones, DameElizabeth Frink, Michael Kenny, Sir Anthony Caro, Eduardo Chillida, Richard Serra,Philip King, Allen Jones, Michael Sandle and many others. The RBS is now a thrivingcommunity of artists, some at the pinnacle of their profession, others starting outon their careers or still students.

The RBS not only provides professional advice and advocates good practice, butruns practical workshops and lectures. The premises at 108 Old Brompton Road,where the Society has been since 1982, houses an archive and resource centre aswell as an exhibition gallery.

The RBS manages and facilitates commissions and shows works in its own galleryand in other sites. It has plans for a major redevelopment of 108 as a new centrefor sculpture in the UK.

2005 is the start of five years of Centenary celebrations for the RBS. As part ofthe Centenary, the RBS is planning a rolling programme of exhibitions, both on andoff site, educational initiatives, archive development and symposia between 2005and 2010. It aims both to celebrate the past and look to the future, to involvemembers and to raise the profile of the Society and sculpture.

Dora House

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T H E U N I V E R S I T Y O F L E I C E S T E R

The University of Leicester is a leading UK university with an internationalreputation for its teaching and research.

Leicester is world-renowned for the discovery of the revolutionary technique ofDNA genetic fingerprinting and houses the biggest university-based space researchgroup in Europe. Leicester has a number of specialist centres for the study of socialissues and its Medical School is one of the largest in England.

The University is committed to offering an extensive programme ofundergraduate and postgraduate degree courses which are firmly rooted in astrong research culture. In January the University was awarded two Centres forExcellence in Teaching and Learning in recognition of its high quality teaching. TheUniversity continues to invest in new methods of teaching and learning using thelatest communications technology for the benefit of its students.

During the past decade the University has experienced a period of significantgrowth, particularly in respect of postgraduate students. There are now over19,000 students registered on accredited programmes with almost 50% of theseregistered for postgraduate qualifications. The University is committed to wideningparticipation and offers a diverse range of foundation degrees and continuingeducation and professional development programmes. Students from 150countries are currently studying at the University.

The University works closely with business and industry and, particularly in thefields of Medicine, Biological Sciences, Physical Sciences and Engineering, hasestablished links with company research and development programmes. It has aninternational reputation for research across a wide range of activities. Academicstaff of the University act as advisers to the British and international governmentsand other organisations.

Henry Wellcome Building

Sculpture in the Garden: a Celebration of the RBS Centenaryis supported by

Exhibition Organisers:Dr Helaine Blumenfeld – ExhibitionConsultantProfessor Bill Forster – UniversityLiaisonJacquelyn Murphy – Exhibition Curatorand ManagerJill Sheridan – Exhibition Co-ordinatorJo Wood – Event Organiser

Exhibition Selection Committee:Professor Brian Falconbridge PRBSDr Helaine Blumenfeld VPRBSMark Richards ARBSCathy Wood ARBSJacquelyn Murphy – RBS Exhibition andEvent Manager

Sculpture Installation and Signage:University Estates Office Richard Green – Head of FacilitiesBarrie Frankland – Superintendent ofGardens assisted by University Gardens staff, Neil P Bayley Contracting, contractorsand GRS Sign Co. Ltd

Design and Printing:Audio Visual ServicesUniversity of Leicester

© University of Leicester and Royal British Society of Sculptors 2005