Daydreaming of the Form A CONVERSATION WITH REECE INGRAM Words & Photos: Arabelle Zhuang
R
eece Ingram is a sculptor and teacher, carving mostly in stone and wood, enjoying the engagement with these materials, their history, structure and the challenge of the reductive process which carving requires. The main subjects of his art are animals and natural forms, where his interest lies in form, mass, weight and the tactile nature of these themes and forms. There is directness and immediacy to his work which has lead to him being commissioned to make sculptures for many parks, towns, playgrounds and schools throughout United Kingdom. Most Notably the Princess Diana Memorial Playground in London, Grizedale Forest, Eden Project and the 2012 Olympics.
CEREAL: Where do you get your inspiration from?
CEREAL: How do you overcome an artist block?
RI: I get my inspiration from animals. In this particular piece, the owl, I chanced upon it when it was mobbed by jays. I picked it up and found somewhere quiet to let him go. The longer I held it, the tighter its grip got, so I knew that he was coming around. I was fascinated with its form and the way it felt while I was holding it. I dream a lot about their lives and what they get up to.
RI: I tend to go for a walk. When I walk, I start to daydream and that’s when the ideas kick in. It also makes you see things. I love bird watching and after a period of time, you see their details, forms and patterns. Another way I overcome my artist block is going to see other people’s work. Looking at art and seeing what others are doing is always great. If you try to hit it hard on the head, it won’t come. Sometimes, when you’re nose to nose with something, you’ll decide that it isn’t interesting. You have to approach it alternatively. Going through my sketch book also helps as I look through my past ideas and see whether I’ll want to take it forward.
CEREAL: Which is your favourite piece you’ve worked on so far? RI: I really like my sheeps. They’ve worked well for me and I really love the form of them. They’re essence and roundness of them. I also really like carving with granite as it challenges me. CEREAL: What is your favourite material to work with? RI: I don’t particularly have a favourite material as they are all different. Wood is soft and you are able to cut it quite easily, like oak. Granite and marble on the other hand is tightly grained. Hence making it harder to cut through. The different materials are suited for different things. I have worked on Granite seals and they turned out really well. CEREAL: How do you start a sculpture? RI: I start with sketching down ideas that I have and then when I am set on a certain animal, or form, I make several clay models and see which is the best. With the clay models, I am able to see which bits to take off. It’s not as easy to take things on and off when it comes to stone. You will be able to glue it back but it’s not the sense of what it should be.
CEREAL: Does teaching inspire you and what are some of their works that have inspired you? RI: Teaching, my students in particular, give me inspiration and has made me think about my responses to their work. I love talking to the students about the shape and form and being involved in their projects. At the moment, it is the first year’s final project, ‘Sense Of’. Some students are doing films of them stirring glazes or pouring liquid clay. They get really interesting shapes and forms it which it gloops like cream. It’s fascinating as it isn’t about making a pot, but it’s the process and a period of time. A student was also interested in body prints and I encouraged her to press her hands into clay. Taking inspiration from paleolithic hand prints, she said that she felt like a child. Well, you’re supposed to feel like a child. They are playing and having fun playing and that’s what matters. When you don’t have inhibitions, that’s when you’re the most creative. Warhol used to have musicians, artists doing all sorts of things in his space. Then out of that, he came up with some of his ideas for his films.