Of love and lions with Paul Smith

Out of the strong came forth sweetness cr Paul Smith

Out of the Strong Came Forth Sweetness © Paul Smith

A few years ago I encountered the above sculpture by Paul Smith at an art fair. It connected with me in a way I didn’t expect. I’ve been having dreams about lions for many years, and in each of the dreams the lions shift constantly between being threatening and protective. It resulted in me writing a poem that will soon be published in an anthology from Avalanche Books.

Paul’s sculpture helped me make sense of the complex emotions that sprung from my lion dreams. “My main driving force in my work is my interest in the place where animals and humans meet,” he says. “Sometimes comforting, at other times strange and uncertain…”

His sculptures reveal the truth of a relationship’s strength being entwined with its participants’ willingness to offer up their vulnerability.

Forest Spirits handfired clay cr Paul Smith

Forest Spirits © Paul Smith

Paul’s work often depicts couples where one is human, and the other a bear, wolf or a lion. and frequently he shows one figure seemingly giving themselves over to another. It looks powerfully trustful – the essence of letting go, which is something I think we all aspire to on some level. We all want to rest in another’s arms, don’t we? Quite simply, at ease.

Deep Down cr Paul Smith

Deep Down © Paul Smith

Paul also explores mythology through his work, translating fantastical ideas into familiar forms. His figures, whether human or animal, are solid, friendly. It helps, perhaps, that his medium is clay – a material many of us play with when very small.

“I think I was born to be an artist,” Paul says. “My parents tell me that toys didn’t really interest me until I started playing with plasticine and Lego. Making an idea physical and real is really thrilling.”

Bird in Hand cr Paul Smith

Bird in Hand © Paul Smith

At school art was Paul’s strongest subject, which led to him taking a fine art sculpture degree. “After leaving college I started to follow a career in social work, but, at the age of around thirty, I found employment as a sculptor/mould maker.”

After around ten years of this, Paul followed his creative desires and set up as a self-employed artist in 1998.

“I like the flexibility that my life has now, both creatively and that old chestnut, work/life balance,” he says. “When I first started my self employed life I chose ceramics as it was the most convenient and cost effective way to make sculpture. The immediacy of making a sculpture in clay and firing it is really pure.”

Strange Little Girl cr Paul Smith, and real dog

Strange Little Girl © Paul Smith, and real dog

Influences on his current work include the writing of Angela Carter, “particularly her re-tellings of fairy tales in her collection of short stories The Bloody Chamber. It was the magical blurring of the divisions between the human and animal worlds in her stories that gave me the courage to go wherever my imagination dictated.”

Find more of Paul’s work and details of upcoming exhibitions at www.paulsmithsculptures.co.uk.

Are you an artist or do you know an artist who would like to be showcased on SkyLightRain.com? Get in touch at judydarley (at) iCloud.com. I’m also happy to receive reviews of books, exhibitions, theatre and film. To submit or suggest a review, please send an email to judydarley (at) iCloud.com.

Dorcas Casey’s melancholy menagerie

Bull in the crypt cr Dorcas CaseyThere’s something palpably sorrowful about Dorcas Casey’s creatures. Sculpted from a huge variety of materials, including layers of fabric, they slouch and sag, protrude from unlikely vessels, and gaze at you as though they’ve been rescued from a cruel and peculiar zoo or farm, but now don’t quite know what to do with their freedom. Encounter one in a crowded gallery, and you’ll find they lounge in a friendly but slightly bemused manner, as though to say, ‘What now? Why all these people, staring?”

Sow cr Dorcas Casey

Sow © Dorcas Casey

“Making art is something that’s always been part of my life – I’ve never questioned it really, I’ve just always done it,” says Dorcas. “I’ve developed more sophisticated ways of articulating my thoughts about my work over time, but the core things I’m interested in haven’t changed.”

The animal sculptures have been part of Dorcas’ work for almost longer than she can recall. “I sometimes think that they are a sort of language my psyche adopts as an embodiment of emotions,” she says. “My dreams are always full of animals and these potent images in dreams are what form the inspiration for my sculptures now. I experiment with a huge variety of materials and found objects in my work but recently fabric has become my main sculptural medium. I love the way it stretches and folds like muscle and skin – it translates quite naturally into anatomy. I’ve also been using Jesmonite resin and metal powders as a means of solidifying fabric whilst preserving its subtle textures.”

Familiar cr Dorcas Casey

Familiar © Dorcas Casey

The initial impulse for a new piece of work seeps up from Dorcas’ subconscious, often in the form of a dream. “I start with a dream image – always an animal – and then just start making,” she says. “Working in fabric means I can keep the piece flexible and pose-able so I don’t have to make any big decisions about composition before I start. I work quite quickly and intuitively, and often combine the figurative elements of my work with found objects like old furniture to resolve the piece.”

Examples of this include Sewing Box, the striking artwork shown below. “I love the process of making and the surprises it throws up,” Dorcas says. “It’s always a genuine challenge and this is what keeps me interested. I love being able to give form to feelings which would otherwise be impossible to describe.”

Sewing Box cr Dorcas Casey

Sewing Box © Dorcas Casey

The animals are exhibited in a variety of unlikely setting, each of which contribute their own atmosphere to the experience of the viewers.

“I’ve shown my work in old attics, in derelict buildings, and I exhibited my bull sculpture in the crypt of Gloucester Cathedral,” says Dorcas. “These types of spaces really amplify the uncanny or unsettling aspects of the work. The crypt worked particularly well because a subterranean space seemed appropriate to an image from the unconscious and it imbued the Bull with a deeper mythological significance.”

The image at the top of this post shows Dorcas’ Bull in the crypt.

Working from dreams demands an unexpected level of realism from Dorcas. “Animals in my dreams appear very precise, in crisp detail,’ she explains. “I try to capture this by making the anatomy of the creatures in my sculptures very detailed and meticulous. With the materials I use, for example old gloves, jumpers, and bedding, I try to convey a sense of memories, perhaps that have been stored-up or hidden, and familiarity and domesticity. I hope to communicate a sense of uncomfortable tension between the homely materials I use and the unsettling animals I make.”

Meet more of Dorcas’ animals at www.dorcascasey.com.

Are you an artist or do you know an artist who would like to be showcased on SkyLightRain.com? Get in touch at judydarley (at) iCloud.com. I’m also happy to receive reviews of books, exhibitions, theatre and film. To submit or suggest a review, please send an email to judydarley (at) iCloud.com.