Sladmore has long been associated with the placing of sculpture in an outside setting, visible on horizons and in architectural spaces around the world. In this selection you will find works which epitomise each artist, showcasing both their style and their passion for the aspect of the human or creature which has called to them. Each work is created in harmony, deploying the skills of expert founders and patinators to create a finished work which melds seamlessly into their backdrop but also provides a focus for the eye. From the impressionistic power of Coreth, to the figurative stillness and timeless modernity of Dilitz, to the unique angular planes of structures in motion of Dickens, to the distilled avian sculptural forms of Dashwood, and the internationally acclaimed equine reflections of Nic Fiddian Green, we hope this curated collection offers inspiration for the design of your own favoured space.
Click here to see the full catalogue of the exhibition
“As an animalier sculptor of the old school I have spent my career living and working amongst wildlife and building up a depth of knowledge and understanding of animals from across the world through travel. Although much of my work has been on the smaller maquette scale, I have on numerous occasions gone large. I have reached a point in my sculptural career when I feel my research and travel adventures so far have set out the new challenge ahead – of letting my accumulated knowledge and ideas really explode into monumental creations”.
Mark Coreth (British, b.1958)
Life-size Charging Elephant
Installed at McArthurGlen Designer Outlet Castel Romano, Italy. Photograph courtesy of LMA Studio, 2022.
Mark Coreth (British, b.1958)
Running Ostrich, life-size
Installation in 2017 at Royal Botanic Gardens, Kew. Photograph by Adrian Dennis.
Dashwood started to experiment with larger life-size and monumental works and began to eliminate all superfluous details, creating boldly modelled pieces. He refined his sculptures to attain smooth, tactile, pure forms, further enhanced in bronze by the application of coloured and multi-coloured patinas. In these sculptures he combined his own aesthetic ideals, establishing a distinctive style which is now internationally recognised as being quintessentially Dashwood. His affinity for and empathy with birds and his unique ability to express these emotions to others through his sculpture is undisputed. Dashwood’s work is exhibited and collected worldwide.
Geoffrey Dashwood (British, b. 1947)
Peregrine Falcon, Monumental
Geoffrey Dashwood (British, b. 1947)
Harris Hawk, Monumental
Dickens’s large-scale works have adorned cathedrals and enlivened skylines from Moscow to LA. On monumental sculpture Sophie comments, “Even the smallest sculptural experiment has the potential to be huge. When held above eye level, preferably against a blue sky, the piece can become as large as the imagination of the artist permits.
Sculptures in gardens create a focus. They define the space, and speak volumes about the person who has chosen it, and placed it”.
Sophie Dickens (British, b.1966), Prancing Stallion Installed on the cruise ship ‘Celebrity Edge’. Photograph by Ann Cavitt Fisher.
Sophie Dickens (British, b.1966), Cartwheel, collection of Woburn Abbey, Bedford, England.
Mario prefers not to explain too much about the meaning behind his sculptures, but to leave the viewer to feel the powerful presence of his works and draw their own conclusions and enjoyment from his creations. Even his choice of material reveals these contradictions. His sculptures, many of them life-sized, are created out of high-quality laminated wood. After a process of destruction, as the wood is cut into lengths, and then construction, as the pieces are glued together, the wood has reached a new form of stability, which wouldn’t have been possible in its natural condition. This whole process is made visible by the lines of red or black glue in the laminated wood, signalling the new strength and permanence of the medium and lending a uniquely pleasing aesthetic.
His bronze sculptures, originally sculpted in clay by Mario, have the same commanding presence. The bronzes are often finished in an unusual unpolished patina, which is completely beautiful, perfectly attuned to the subject and allows for the surface to organically change with exposure to the elements if situated outdoors.
Mario Dilitz (Austrian, b.1973), No.196 Boy with Shark
Mario Dilitz (Austrian, b.1973), No.195 Boy with Shark
Nic Fiddian Green
Nic Fiddian Green has stayed true to the form of the horse’s head for over 25 years. The spirit and power of this noble animal, both servant and master to man, has been his long-term obsession. The early influences of the elegant Parthenon frieze are still apparent, classical Greek principles of grace, beauty, serenity, and harmony are balanced with new sensibilities to create his unique, very modern sculpture.
The 33 ft high bronze “Still Water” situated at Marble Arch in central London and recently moved to nearby Park Lane has become one of the city’s most loved landmarks. Nic has donated the piece on permanent loan to London. His monumental works have been installed at Glyndebourne Opera House in Sussex and the Royal Enclosure at Ascot. The largest piece of his career so far, the 40-foot high “Artemis”, was placed on the Trundle Hill on the downs overlooking Goodwood House and racecourse. It is now in its new home, a private collection in the Hunter valley in Australia. Nic’s work appears in many important private and corporate collections and has been exhibited in major galleries worldwide.
For further examples of monumental sculpture by Nic Fiddian Green visit https://www.nicfiddiangreen.com/sculptures/
Nic Fiddian Green (British, b.1963), ‘Still Water’, 2021, photograph by Hugo Burnand.
Nic Fiddian Green (British, b.1963), Mighty Horse, 2023, photograph by Hugo Burnand.
Nic Fiddian Green (British, b.1963), Greek Head, 2018, photograph by Hugo Burnand.
Nic Fiddian Green (British, b.1963), Roman Horse, 2016, photograph by Hugo Burnand.
Johnny Hawkes’s abstract flowing forms, purity in curves and his love of sacred and fractal geometry take inspiration from early 1970’s Henry Moore and Naum Gabo. Hawkes’s ‘Sphelix’ is a new shape, the joining of a sphere and a helix. Deceptively simple in form and endlessly metamorphic, the Sphelix is distinctively elegant whether experienced in two, three, or four dimensions. It resonates unity, communication, symmetry, purity, and simplicity. Its timeless and been described as one of the first ever 4D objects. The monumental Sphelix has been installed in La Défense, Paris and Covent Garden, London.
Johnny Hawkes (British, b.1955), Sphelix, Monumental, installed outside the Praetorium Building, La Défense, Paris. Photograph by Johnny Hawkes.
The pieces depicted here are examples from our artists’ wide range of monumental works. Please contact the gallery for further details about them, or about any of the artists featured on Sladmore’s website.
Phone on +44 (0)20 7629 1144.
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