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"Hero" 5ft tall available in a bronze edition of 9.
Beltane Juno 17 hands available in a bronze edition of 7
Dylan no2/5 now being cast prior to exhbition in Nebraska.
Apollo casting now for clients in Canada.
Madrugadar bronze edition of 7.
'Out of a Winter Sea' Teignbridge Distict Council collection.
Sugar Babe At The Eden Project. The bronze and the original side by side.
To see more about the process go to the driftwood bronze page.
Sugar Plum bronze 4ft 5 x 4ft 6
'Unsheathe your dagger definitions. Horseness is the whatness of allhorse'
Integrating a wider range of materials with driftwood and oak into the life-size sculptures has been a fascinating experience; there is more variety of texture and escape from the limitations imposed by armatures has allowed a greater fluidity in the large works.
Slightly larger is 'Cherry Pie' a bronze edition of five.
'Landing'
Sadly several driftwood pieces were finally beyond repair as eventually happens with all driftwood work left outside. Some lasted seven years before the gales and other hazards got the better of them. Fortunately moulds had been made and most will go into the future as bronzes. 'Sweet September,' is one that may be going to Nebraska for exhibition in the Spring. 2020
A WORLD AWAY.
Some time ago I was visited by the wonderful warm-hearted and enthusiastic Lise Cormier.
Lise is the Chief Executive of Montréal International Mosaïculture and she made me a very interesting proposal.......
She came with the Director of Montréal Botanical Garden, Gilles Vincent and Ginette Marotte, the Vice Mayor to commission a contemporary horse sculpture for Mosaïculture 2013. www.mosaiculture.ca
They chose to have an oak life-size mare and foal which are taken undercover each winter. Here they are in the newly planted site.
Interview: Heather answering questions about the creative process click here
A caution: the copyright of any artwork belongs to the artist. People may take photos of my work for their own enjoyment but not for commercial gain. Thank you to my followers who alerted me and for their concern, I have also been made aware of the number of people now producing driftwood horses. Whilst I am grateful for the loyalty and indignation expressed, I have to say that I never claimed the discipline of working with driftwood to be mine alone and have always been very open about my working process.
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