p. 39 PROFILE Feature:Layout 1 12/12/09 16:50 Page 1
theWord on Somerset 39 | PROFILE
Portrait of the Artist
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elanieDeeganbecamea
M
full-timeprofessionalsculptor
in2008.Sheisparticularly
knownforheranimal,and
notablyhorse,sculpturesin
Jesmonite.
‘Mysculptingcareerstartedinthe1980swhen
Ispentseveralyearsworkingasawoodcarver
withRayHollowayintheSomersetvillageof
Draycott.Thisgavemeexperienceofawide
rangeofprojectsinvolvinganythingfrom
restorationworkonWellsCathedralandother
churchestocarvingbutterprintsforthe
NationalTrust.Afteraseriesofbizarre
nightmaresaboutthebutterprintsIdecided
‘Myworkisstronglyinfluencedbythedesiretocapturemovement.Thechallengeis
thatIhadprobablycarvedafewtoomany
notjusttosuggesttheactionofananimalorfigureinmotionbutalsotogivethema
andtookmycareerinadifferentdirection.’
senseofpurpose.Sometimesthiscanbeassimpleastryingtoindicatetheintention,
thefeelingofenergycontainedinthemusclespriortotherealisationofactivity.Once
‘Itwasnotuntil2006thatIbegantothink
theideaisformedthesculpturebegins,startingasawirestructure,thisisessentially
seriouslyabouttakingupsculptingagain.
thedrawingprocessandallowstheproportions,positionandbonestructuretobe
Ijoinedasculpturegroup,whichwasheld
determined.Ontothisthelayersarebuiltupalmostasifaddingmusclesandsoft
everyweek,atTheMeetingHouseArtsCentre
tissuetothepiece.ThelayersarecreatedusingtheJesmonite.Thispartofthe
inIlminster.Thiswasagreatopportunityto
procedureisnotentirelypreciseandaddsaninterestingdimensiontothecreative
exploredifferentapproachestosculpting.
process.Thechallengeforthenextfewmonthsistokeepincreasingthesizeofmy
InitiallyIwasworkinginclay,learningabout
horsesculptureswhilefindingwaysofmaintainingtheopen,layeredstructureofthe
mouldmakingandcasting.Beingusedto
piece.EventuallyIwouldliketobeabletoproduceafullsizehorse.’
carvingwoodwherethematerialisremoved
torevealthefinishedpieceIreallyenjoyedthe
‘In2009,myfirstfullyearasaprofessionalartist,Iexhibitedwithagroupofartists
waythatasculpturecouldbebuiltupusing
calledTheRecessionistsofwhichIamamember,atThe10ParishesFestival,Makers
claybutfoundthemouldmakingandcasting
inBathPlaceTaunton,theQuartzFestivalatQueen’sCollege,attheBath&West
processslightlylaboriousandlimiting.Istarted
duringSomersetArtWeeks,withUrbanArtistsinBath,TauntonFlowerShow,
experimentingwithplasterandaddingdifferent
TheRuralLivingShowandatBinhamGrange.Ihavebeenveryluckytobeinvited
typesoffabrictogivetheworkdepthand
toexhibitatseveraloftheseandalthoughsomearenotalwaysanobvioussuccess
texture.Howeverplasteralsohaslimitations
atthetimetheyoftenleadontootherthings.InadditionIhavealsoundertaken
andwhilediscussingthiswiththesculpture
anumberofcommissionsforprivateclients.’
grouptheysuggestedtryingJesmonite–
acolouredacrylicresinwithfibresaddedfor
‘Iaminterestedintheideaofexhibitingartinvenueswhich
texture.ThefirstpieceItriedwasagroupof
arenotconventionalgallerieswhichiswheretheideaof
wildhorses,andwhileitwasnottheeasiest
BinhamGrangecamefrom.WorkingwithlocalartistJim
materialtouseitlookedpromising.Aftersome
Munnionwesetupanexhibitionofworkby11Somerset
trialanderroramethodstartedtoemerge
artistsinabarnandhadover1500visitorsduringthe
andIbegantogetafeelforwhatthematerial
2weekstheexhibitionwasopeninAugust2009.Thisisa
coulddo.ThisworkisevolvingasIlearn
conceptthatweintendtotryinotherlocationsandhavean
aboutthebestwaytomakeanarmature,
exhibitionplannedforKilverCourtinSheptonMalletduring
thetypesofmaterialthatcanbecombined
thelasttwoweeksofFeb2010.AnotherBinhamGrangeis
withJesmoniteandhowtofinishdifferent
alsoplannedforthisAugust.I’malsodoingajointexhibition
sculptures.Inspirationformysculpturescomes
attheTheIlminsterArtsCentre(TheMeetingHouse)from22
fromvarioussourcesincludingphotographs,
March–3April.I’mreturningtotheplacewhereitallbegan.’
paintingsandreallife.Beingbasedinarural
areaofSomerset,justoutsideWiveliscombe,
Melanie’ssculpturesaregenerallyavailableforviewingby
thereisplentyofwildlifetobefoundlocally
appointmentatherstudionearWiveliscombe.Contacther
alongwithfarmanddomesticanimals.’
on01984624544orvisit
www.melaniedeegan.com
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