Biographies of participating sculptors in the 2011-2012 exhibition

John Brown

John was born in 1931. His sculpture training began at Hornsey School of Art, and continued under Howard Bate, RA at Hampstead Garden Suburb Institute. He won The BBC People’s Award Trophy in 2000.

He creates contemporary sculpture concerned with human relationships and emotions, expressed in a simplified abstracted way, provoking thought and discussion, as well as visual impact. Themes very often run through a number of completed works as in the recent series inspired by the TV programme ´Strictly Come Dancing´. John’s sculpts in stone, usually a limestone or sandstone, and produces limited editions in traditional foundry cast materials such as bronze or in cast resin metals, such as bronze, aluminium and iron

His sculpture is exhibited widely and is now in many private and corporate collections, being owned by well know figures such as Elton John, Lesley Ash and Simon Cowell. Commissions include works for SmithKlineBeecham, Tokai Bank, Bluewater Retail Park, Marathon International Petroleum, Crowne Plaza Hotel and Kawaguchi Metal Industries in Japan.


Frederic Chevarin ARBS

Of French origin, Frederic is now based in Oxfordshire in the UK. He started sculpting when young by working with wood and at the age of 25, during a training session at a stonecutter’s studio learnt how to work with limestone (Caen Stone). Studying the history of art through books, museum visits and personal contact with sculptors, he was particularly influenced by a well known Italian sculptor, Vasco Montecchi who showed how to animate and sculpt marble. Another great influence was the 92 year old sculptor and magician Gigi Guadagnucci whose sculptures show infinite refinement and elegance.

The theme central to Frederic’s research is movement. The ability to animate stone, marble and wood is almost an obsession. He creates movement which is projecting forward, forcing the material to show that a transition between two states is taking place. He regards movement also as velocity. “Incorporating velocity into a piece is very exciting since a line can make the sculpture move very fast or alternatively a different line will convey only a slow motion. Many sculptures only convey passive state, immobility. I want the velocities of my work to change, this way the perception of the work in space is different, exciting and interesting. If the state of the piece is fixed there is no extension of the material into space, it simple stops where the sculpture ends. If, on the contrary there is movement the dimension of the piece is projected into space and creates the impression that it continues along its course.”

Although stone is a dense and heavy material to work with Frederic says he wants it to appear light so that we can see it flying, emerging from the world of matter to that of refinement and elegance. This is quite difficult because of the constraint the material imposes on the sculptor, this can only be overcome by patience and being able to accept failure if the marble breaks when it becomes too thin.

Frederic’s ideas are sourced through nature. Birds, trees, the wind, herbs or flowers are all models to use. “However, I don’t copy the bird I am carving, I sculpt its ability to fly, I find an intimate way to observe its flight, soaring and gliding above cliff tops. Copying is of no interest to me because the replica will always be poor when compared to the original. On the other hand if I sculpt the flight itself, I can achieve the comprehension of the power of flight, a true source of pleasure or struggle.”

Frederic is an Associate of Royal British Society of Sculptors


Len Gifford

Len Gifford was born in London in 1945 and initially studied and practised civil and structural engineering and was responsible for designing a great many buildings and bridges. However, in his mid thirties he decided to take a sabbatical from engineering and indulge full-time his fascination with sculpture and graduated with a BA (Hon) degree in Fine Art from Leicester University in 1983.

Three months later Len Gifford accepted the job of mannequin sculptor offered to him by Adel Rootstein who was the world’s leading mannequin manufacturer, and has worked part-time as a commercial sculptor modeling life-size figures in clay ever since. The rest of the week he produces his own work in his studio in Milton Keynes Village where he lives with his wife and two children.

Len’s work is about movement and the human body. Through semi-realistic sculpture he tries to capture movements seen in dance, gymnastics, yoga and aerobics. He is much influenced by the soft rounded curves found in the female form and contemporary dance rather than the harder more erect poised forms found in the male form and traditional ballet.

He aims to capture a moment in time:  a seated girl rising, the maximum arch that a body can describe in a particular movement; a figure on the point of balance, move the figure a fraction of an inch and you lose the essence of that movement.  The figures are often supported on visual columns of air thus giving the impression of defying gravity. The more he studied these movements the more he realised how easily the human body is able to communicate ideas and mood through its body shapes.


Steven Gregory

Steven was born in South Africa in 1952 and now lives and works in London. In 1970 he entered St Martin’s School of Art, where he disliked its teaching so much that he left after two years. His determination to engage with tools and to learn traditional skills led him to become an apprentice stonemason, in which capacity he worked on Westminster Abbey and Hampton Court. After winning the Worshipful Company of Masons Prize in 1977, Gregory felt he could re-engage with St Martin’s on his own terms, so returned and completed his BA.

Steven is a sculptor with a slightly wicked sense of humour who relishes the idea of being up to no good, of looking at things with a mischievous glint in his eye. Since 2002, the central theme of his work features human bones and skulls as a celebration of both life and death. Combining a variety of materials, from electronic parts to semi-precious stones, he manages to be moving and wryly amusing at the same time. His unique decorated skulls are intricately crafted and beautiful to look at. In his acclaimed solo exhibition Skulduggery, at the Cass Sculpture Foundation, London 2005-6 he extended and continued the theme. Steven retains a longstanding connection with the Cass Sculpture Foundation where several sculptures are currently on view.

Stone carving features largely in his sculpture, although he has also developed ideas in bronze and other media. His intention is to make work that cannot be disregarded, which sometimes results in harrowing images of the human condition.

Contributions to group exhibitions including Sterling Stuff, Works in Silver: Sigurjon Olafsson Museum Reykjavik, Iceland (2003), Thinking Big, 21st Century British Sculpture, Peggy Guggenheim Collection, Venice (2002- 2003), Animal Fantastique, Les Amis du Doujon de Vez, Paris (2002). He is also a regular exhibitor at the Royal Academy of Arts Summer Exhibitions in London.

Philip Jackson MA FRBS FRSA

Philip was born in Inverness in 1944 and now lives and works in West Sussex. A fellow of the Royal Society of Arts, he was elected in 1989 as Fellow of the Royal Society of British Sculptors and acted as Vice President from 1990 to 1994. He was appointed CVO in the Queen’s Birthday’s Honours List.

Philip Jackson’s ability to convey the human condition through the skilful use of body language is well known. Whether with robed, masked or faceless figures reminiscent of 18th century Venetian procurators, graceful, delicately poised works such as Saraband, or the prestigious, figuratively detailed monumental public social figures for which he is often commissioned, Philip Jackson’s work moves people. Imposing and operatic both in narrative and in their presence, Jackson’s works are powerful and beautifully sculpted. Hauntingly elegant or theatrically enigmatic, individually or cloistered together, the meticulously precise posturing of the work creates an overwhelming sense of drama from which emanates highly charged emotions, secrets, conspiracies and intrigues.

Philip endeavors to divide his time between public commissions and work destined for galleries. His celebrated masked and eccesiastical figures can be found in many places around the world. With an increasing demand for his works for the public domain, Jackson’s most recent creations in this sphere include the Jersey Liberation Square (St Helier Jersey), Constantine the Great (York Minster) the Wallenberg Monument (Great Cumberland Place London) and Christ in Judgement for Chichester Cathedral.

Amongst his other numerous public commissions are the portrait bust of Sir Alf Ramsay, commissioned by the Football Association, at Wembley Stadium, a life size and a half bronze sculpture of HM Queen Elizabeth the Queen Mother, commissioned by The Royal Household, unveiled by HM The Queen in 2009, and an equestrian sculpture of Her Majesty the Queen to celebrate the Jubilee for Windsor Great Park in 2003.  A Falklands War Memorial Sculpture at Portsmouth was unveiled by Baroness Thatcher.


Linda Johns

Linda graduated in 2003 from Central St Martins College of Art and Design

Her work explores the use of line and space to describe matter and the body through multi-dimensional drawings in sculpture, print and traditional drawing mediums – combining an interest in drawing, and how line can depict form, with the spatial presence and materiality of sculpture.

The starting point of her work is the natural world – both seen and unseen – what can be observed, but also what science (particularly physics) and mythology can reveal. The body, nature and natural forms are depicted by paring down the detail to find the principle form.

Through creating figures that are mostly space, their volume described by line, the forms become generic, non-specific so viewers can join in with the apparent activity of the sculptures, placing themselves within a group, by an individual ‘in conversation’, or sitting alongside the work as though with a companion.

The sculptures are made using metals and found natural materials to create the lines, resulting in work which often has the appearance of fragility but is actually surprisingly robust. The artwork exists as part of its environment – drawn from it rather than imposing upon it, the surroundings viewed within as well as around the sculptures. As the seasons change so the outdoor sculptures’ interaction with their environment changes. The fine lines and their intersections attract moisture, with raindrops captured, and frost and mist forming upon them. Metal is used in its natural state, with the action of weather gradually transforming the colour and texture. On bright days, or in artificial light, the sculptures cast shadows on their surroundings, recreating their form in two dimensions.

Linda has permanent works in Salcey Forest Northamptonshire and country parks throughout the East Midlands as well as other outdoor environments.


Robert Koenig

Robert was born in Manchester, England in 1951 of Polish immigrants. He completed his secondary education in Paris, France before returning to England to study art. In 1978 he graduated from the prestigious Slade School of Art at the University of London where he specialised in sculpture. Since that time he has been living and working in England as a professional sculptor.

In his early career he was one of the first artists to be invited to participate in the Grizedale Forest Sculpture Project in the English Lake District. He spent seven months during 1982/83 living and working in a forest environment. He left behind six sculptures as his personal response to this landscape. The Grizedale Forest Sculpture Project was initiated in 1977 and has influenced a generation of sculptors and has helped transform the way sculpture is seen, made and understood in public places. Robert Koenig has continued to make work for sculpture trails, parks, woods throughout the country.

A consistent theme in his work has been the carved and painted wood relief panel. The earliest examples of this type of work appeared in 1981 with panels like ‘Rustic Umbrellas’, purchased by the Arts Council of Great Britain and ’104 Seated Figures’, exhibited at the time in the Whitechapel Gallery, London. What typified these and later panels, was the use of the repeated motif used in order to achieve a sense of pattern and rhythm. The power of the repeated image fascinated him. “Pattern, repetition, rhythm, as if there was a heart beating subliminally behind it all. It is the rhythm that signals the existence of life, the regularity of the pulse that can signal well being or foreshadow ill health.” This use of repetition in those days intrigued a lot of people, especially in the form of carved wood relief.

Robert has had many residencies, including one at a school in Poland, has exhibited very widely and has numerous public commissions – the latest of which is a 24 foot high totem in Campbell Park, Milton Keynes.


Jonathan Loxley

Jonathan studied at Epsom School of Art and Design in 1978 and marble carving techniques in Florence in 1980. A career in the film industry included set design and sculpture projects on movies such as Santa Claus the Movie, Aliens, A Fish Called Wanda and Willow.

Jonathan moved to Carrara, Italy some 20 years ago, where he established a studio. Carrara has been the centre of marble quarrying and sculpture for time immemorial and Loxley picked up skills and knowledge about this material unlikely to be gleaned anywhere else. Having become frustrated with the limitations and transience of man-made materials, Loxley found Marble to be the ideal carving element, allowing unimpeded thought processes within the interior space of the stone. Ironically he discovered that while stone has to be reduced to reach the intended surface, the inspiration for an idea would expand outward from the centre. This irony expanded itself, dictating the idea that the material was indeed responsible for the development of the carver.

After 11 years in Italy, during which time he exhibited throughout Europe, Jonathan returned home to England and set up his studio in Wiltshire, although sourcing marble for his projects involves regular visits back to Carrara. He has recently been involved in the design and reconstruction of a 1950 aircraft trailer coach from a company owned by John Paul Getty, which will be a mobile Art Deco Cocktail Lounge.

His work can now be viewed at the prestigious home for British Sculpture, Goodwood Sculpture Park, and in global locations such as Hong Kong, California, New York and Cannes.


Tonderai Mashaya

Tonderai was born in 1977 in Chitungwiza just outside Harare. He is from a large family with three brothers and four sisters and from an early age played and carved with soft stone, influenced by his cousin, the famous Shona sculpture Gideon Nyanhonga.

When Tonderai finished school at 16 years of age in 1993 he apprenticed himself to his cousin until at the age 18 he started working in hard stone on his own. From 1995 – 97 he was artist in residence at Gallery 2000 in Harare and was poached from there to become artist in residence at the Chapungu Sculpture Park on the outskirts of the city. Here Tonderai met the Director of the Harare International Film Festival and was commissioned to make the awards presented to winners. This was followed by a successful one man show at the Sheraton Hotel in 2000. His work has since been exhibited more widely in Cape Town and at Kew Gardens, as well as across Europe and in Canada.

Tonderai is inspired by his family upbringing and the theme of relationships – his pieces reflect on family groups and pairs; of people living their lives through good times and bad. Zimbabawe is an interesting and challenging country to reflect on life and it is possible to see this gravity, and a sense of wistfulness, in Tonderai’s work. His favoured subject matter includes human figures, animals, fish, heads and birds, working primarily in Springstone, and his style reflects the more spiritual aspects of Shona life.

Thomas Ostenberg

Thomas was born in Nebraska and grew up on a ranch in Colorado. He travelled extensively throughout the USA, Canada, South America and Western Europe before studying languages at Principia College, Illinois followed by earning an MBA degree from Stanford University in 1975. He then entered the international financial world where he became a Vice President of Citibank in Brazil and Spain. In 1986 he went freelance as an independent International Financial Consultant.

At 40 he exchanged his successful financial career for art school. In 1994 he earned his BFA from the Kansas City Art Institute, and in 1997, his MA from the Royal College of Art in London, England, aided by a grant from the Henry Moore Foundation.

Now a full time sculptor, he claims his biggest break was “discovering that I wanted to be an artist”. Thomas maintains this change was precipitated by “fifteen years of seeing great art on three continents”. In particular he cites the major Velazquez exhibition in Madrid and a visit to the Rodin Museum in Paris.

Working primarily in bronze, the power and durability of his finished pieces belie his approach to the medium, which is quite fluid and intuitive. “Sometimes I will have a bit of clay or wax in my hand, and, by playing with this lump, some image or other just begins to appear.” For his large scale works he will have a specific image in mind to represent an emotion he hopes to convey. He will start with a steel armature that is covered with an oil-based clay. Then, using his hands and later, clay tools, he defines the image. “I alternate between building up and carving back until I achieve a result I am satisfied with.”

Thomas’s sculptures explore the theme of motion and balance. His work reflects his personal search for emotional and spiritual equilibrium. For him, the work “touches on the moment of stepping into the unknown and doing so willingly.” The work has been called joyful and magical, words not often applied to contemporary art. The surfaces of these bronze sculptures communicate a tangible love of process. The works contain human figures and/or frequently horses on a variety of ladders, wheels and spheres, performing acrobatics and balancing acts much like those associated with the circus. This is not to say, however, that his sculptures are frivolous or trivial. On the contrary, what may at first appear only as a feat intended to entertain is, at a deeper level, a wonderous allegory full of hope, strength, stamina, determination.

The titles of his sculptures alone – Notion of Place, Truth and Consequence, In Pursuit of a Clearer Understanding, Mind Over Matter, A Question of Perspective, Matter Don’t Matter – give a sense of positive action that results in personal and, therefore, public benefit, and an understanding of life as a gift rather than a predicament. The sculptures themselves depict feats of enormous physical control and extraordinary mental focus. To view them is to experience triumph over contemporary malaises such as nihilism and despondency, to receive a message of calm amidst chaos – and ultimately, to feel joy in the pursuit of knowledge and truth.

Thomas is represented by galleries throughout the United States and Europe. He divides his time with his wife and two sons between Santa Fe, New Mexico and London. He also retains strong ties with Brazil and France where they maintain homes.


Peter Randall-Page

Peter Randall-Page was born in the UK in 1954 and studied sculpture at Bath Academy of Art from 1973-77.

During the past 25 years Peter has gained an international reputation through his sculpture drawings and prints. He has undertaken numerous large scale commissions and exhibited widely. His work is held in public and private collections throughout the world. His public sculptures can be found in many urban and rural locations throughout the UK and he is represented in the permanent collections of the Tate Gallery and the British Museum amongst others.

His practice has always been informed and inspired by the study of organic form and its subjective impact on our emotions. In recent years his work has become increasingly concerned with the underlying principles determining growth and the forms it produces. In his words “geometry is the theme on which nature plays her infinite variations, fundamental mathematical principle become a kind of pattern book from which nature constructs the most complex and sophisticated structures.”

In 1999, he was awarded an Honorary Doctorate of Arts from the University of Plymouth, an Honorary Doctorate of Letters from York St John University in 2009 and an Honorary Doctorate of Letters from Exeter University in 2010; from 2002 to 2005 he was an Associate Research Fellow at Dartington College of Arts.

As a member of the design team for the Education Resource Centre (The Core) at the Eden Project in Cornwall, Peter influenced the overall design of the building incorporating an enormous granite sculpture (‘Seed’) at its heart.

Recent commissions include ‘Give and Take’ in Newcastle which won the 2006 Marsh Award for Public Sculpture, ‘Mind’s Eye’ a large ceramic wall mounted piece for the Department of Psychology at Cardiff University (2006) and a commemorative sculpture for a Mohegan Chief at Southwark Cathedral (2006). Recent projects include ‘Green Fuse’ for the Jerwood Sculpture Park, Ragley Hall and a major one person exhibition in and around the Underground Gallery at the Yorkshire Sculpture Park, June 2009 – April 2010.


Michael Sandle RA

Born in Dorset in 1936 and brought up in the Isle of Man, Michael’s connection to the island began around 1942 when his father was stationed there with the Royal Navy.  He studied at Douglas School of Art and Technology from 1951 to 1954 and the Slade School of Fine Art, London from 1956 to 1959. He then travelled in Europe with the assistance of an Abbey Minor Travelling Scholarship, receiving in 1959 a French Government Scholarship. Periods of teaching in leading British art schools followed throughout the 1960s.

He has lived and worked in the UK, Canada and predominately in Germany, where he stayed from 1973 until 1999 and now lives in London. Michael was elected Fellow of the Royal Society of British Sculptors in 1994 and re-elected to the Royal Academy in 2004.

In his early work he emphasised craftsmanship and the search for symbols, rejecting the formalism increasingly common in sculpture of the period. Throughout the 1960s and ’70s he worked on a small range of individual works in which he explored abstract and figurative idioms.

Following his appointment as professor of sculpture at Pforzheim, Germany in 1973, and at Karlsruhe, Germany in 1980, Michael’s work became more monumental, partly in response to a series of significant commemorative commissions. His work voices criticisms of what he describes as ‘the heroic decadence’ of capitalism, in particular its appetite for global conflict. He has also attacked the media for packaging and sanitising the destructiveness of war.

He has exhibited in numerous group exhibitions in Britain and internationally including the 5th Paris Biennale, 4th and 6th Documenta and Sao Paulo Biennale. His work can be found in galleries and museums across the world including the Tate, the Metropolitan Museum of Art, New York, the Australian National Gallery in Canberra, the Hakone Museum in Japan and the British Museum.

Public works include the International Seafarer’s Memorial, sited outside the headquarters of the International Maritime Organisation in London and the WW2 Malta Siege Memorial, sited at the entrance to the Grand Harbour in Valetta.  For the latter he was awarded the Henry Hering Memorial Medal by the National Sculpture Society of America.  Themes of war, death, destruction, inhumanity and media manipulation are constant in his work, as he treads a path outside the fashionable mainstream.

Helen Sinclair ARBS

Helen Sinclair was born in 1954 in South Wales. She studied sculpture under the late Peter Startup at Wimbledon School of Art (1972 – 1976) where she met and married fellow sculpture student, Terry Ryall. After teaching for twelve years, she has been a full-time, self-employed sculptor since 1988. She exhibits widely throughout England and Wales and has work in private collections in Denmark, France, Germany, Greece, Holland, Ireland, Sweden, Switzerland, America, Australia and New Zealand.

Her work has almost always been figuratively based. She uses a life model regularly and occasionally find poses which inspire a whole series of pieces that can cover several years of making. Inspiration comes from sculpture from all over the world and all centuries, but most directly from painting of all art forms. Many pieces have originated from looking at the painting of Picasso, Matisse, Modigliani and Chagall – notably the first three were sculptors too. However, it

is their painting, rather than their sculpture, that interests Helen most.

She been inspired also by literature and music (opera particularly) but this is a more abstract link in terms of the spirit or general mood of the piece rather than the more specific physical form.

Helen works in a variety of materials including cast stone-resin and bronze. She exhibits all over Britain and her sculpture is in private collections worldwide.

Ray Smith

Ray was born in Harrow in 1949 and educated at Southend High School for Boys and Trinity Hall Cambridge. He has exhibited widely and made many publicly sited artworks in museums and other public collections, using a wide range of media.

Between 1970 and 1997, he had solo exhibitions at the ICA and the Barbican in London, the Mostyn Gallery in Llandudno, the Ikon Gallery in Birmingham, the Arnolfini Gallery in Bristol, The Winchester Gallery and the John Hansard Gallery in Southampton.

He was Fine Arts Fellow (artist in residence) at the University of Southampton from 1978 to1981 and has been a visiting lecturer at the Exeter School of Art, the Chelsea School of Art, and Sotheby’s Institute in London. He was a member of the Art Working Group for the National Curriculum in 1990.
His awards and prizes, include a Linbury Trust Artists Award in1977. He won Der Deutscher Jugendbuch Preis in1978 with Catriona Smith. He was a prizewinner at the 7th Cleveland (UK) International Drawing Biennale (1985) and also at the John Moores Liverpool Exhibition 16 (1989). He was awarded a Royal Society of Arts ‘Art for Architecture’ Award in 1993 and in 1996 he won the Rowse Kent Public Art Award.
Ray has won a number of open and limited competitions for exterior sculptures. These include ‘Face to Face’(1992) for Birmingham City Council, ‘Standing Stones’ (1993) for Sainsburys at Pinhoe in Exeter, ‘On the Crest of a Wave’ (1996) for the Dover Harbour Board, ‘Eights Tree’ (1999) for Sustrans and the RC Sherriff Trust, and ‘The Ramblers’ (2001) for The Green Corridor and Hounslow Council. In 2011 he won a national competition for a steel sculpture in Chepstow.
Ray has been the consultant artist on a number of urban regeneration projects. This work has included sculpture, landscape design, street furniture and lighting. His fibre-optic lighting artwork, ‘Making Waves’(1999) in Teignmouth was supported by a major award from the National Lottery. In 2004 he completed a large-scale installation, ‘At Full Stretch,’ on the thirty floor facade of the Trellick Tower in West London.
Ray was Lead Artist for the new Bristol Royal Children’s Hospital (1997 to 2001). He was commissioned to produce a vision document and artworks for the Manchester Joint Hospitals (2007- 9). He has also been consultant artist in the design team for a number of new schools for the Bath and North East Somerset Council, including the Three Ways School in Bath (2007)  and the new Writhlington School and Post 16 building in Radstock (2011).



Paul Vanstone

Paul studied sculpture at Central St. Martins School of Art before completing an MA in sculpture at the Royal College of Art, from which he graduated in 1993. Following his graduation Vanstone worked in Italy at the traditional marble carving studios near the famous Carrera quarries. He also spent time working in Berlin and has travelled to Rajasthan to learn India’s traditional marble carving techniques.

On his return to the UK, and for the next five years, Vanstone became an assistant to leading British sculptor, Anish Kapoor. Consequently, works carved by Vanstone on Kapoor’s behalf have been exhibited at world leading galleries, including the Tate Modern, London

Since then Paul has shown his work at a number of major galleries in London, including the British Museum and the Victoria and Albert Museum, as well as galleries and sculpture gardens throughout the UK. He has gained a number of prestigious awards and commissions, among them being the Henry Moore Award (1991) and the Lady Carrington Sculpture Garden commission (1991 and 1996).

Paul Vanstone carves sculpture from stone, the nature of the material dictating how each piece evolves. His fascination is with the hardness and light reflecting qualities of marble and how this can be transformed to portray the curvature of the human body and the delicacy and flow of covering cloth. His technique and focus upon quality and finish draw upon the traditions of classical sculpture. However, his images and influences reflect the twenty-first century’s passion for the curvaceous art design and architecture of Zaha Hadid, whilst also paying tribute to the mainstay of modern British sculpture, Henry Moore


Nicolas Moreton

Nicolas studied sculpture at Wolverhampton Polytechnic and became a full time sculptor in 1986. He was elected to the Royal Society of British Sculptors in 1995. Nicolas has numerous public commissions throughout the country, including ‘The Conversation’ and ‘The Meeting’ in Central Milton Keynes and work in private collections across the world, including those belonging to George Melly and Lord Archer. His many awards include Arts Council Grants for Artist In Residence at Gloucester and Manchester Cathedrals and Southwell Minster. Work to raise the profile of stone carving has encompassed talks, lectures workshops and events across the country.

Nicolas enjoys the versatility of British stones, often working with limestone from Lincolnshire, a sturdy stone which he says has a resistance and personality, allowing the hand carved chisel marks to have a voice. His work centres itself around growth and fertility themes.