The Lightening Dancer: A new sculpture for Heligan

EXHIBITION FOCUS

THE LIGHTENING DANCER

A new nature-inspired sculpture for the Lost Gardens of Heligan.

A beautiful listed building at the heart of The Lost Gardens of Heligan has reopened following a revitalising refurbishment project, with an exquisite sculpture as its centrepiece.

Nestled in the heart of the gardens, surrounded by pom-pom hydrangeas and lilac blooms in blues and cream, The Steward’s House was built around 1850 as a home for John Way, and was subsequently home to Samuel Gillard, James Wonnacott, John Martyn and George Hay Henderson. Squire Jack Tremayne moved in during the First World War, freeing up Heligan House for use as a convalescent hospital for officers of the Royal Flying Corps.

Most recently, The Steward’s House was used as a seasonal tearoom and offices until closing last autumn for renovation. The refurb team worked closely with two Cornish artists to connect past and present, inside and out, and using materials from Heligan’s woods wherever possible.

Sculptor, painter and site-specific artist James Eddy is no stranger to Heligan, having undertaken a year's residency in 2010, culminating in the creation of the Growth & Decay charcoal sculpture: a living and decaying piece which interacts with nature, gradually changing with its surroundings. His latest contribution is a tree sculpture created from fallen oak from the garden, now weaving and bending its way through the walls and ceiling of the dining room as though nature has magically sprouted within the house.

In fact, one led to the other. “I was on my way to tend to Growth & Decay when I noticed the building team in the Steward’s House,” says James. “It transpired that they’d had a design meeting and had come up with the concept of having a tree across the ceiling – and my name had been mentioned.”

James produced a design, and the hunt was on for a suitable tree on the estate. Having consulted with the head gardener, it turned out Storm Eunice had brought down an oak tree only recently. The estate team swung into action, helping to extract the tree with tractors and chainsaws.

James stripped the tree of bark and pith, and carved the trunk with chisels for a permanent bark-like texture. An environmental science graduate, James has preserved mosses from the tree to be rehomed as part of a future project, while wood offcuts have been turned into pieces for his MA in Fine Art (one was even exhibited at the Inter-Celtique Festival in Lorient in August).

For the installation, it was important to consider that, unlike Growth & Decay, the work would be both indoors and permanent, in a public space used for all-day dining, celebrations and intimate weddings. As such, it needed to take building regulations into account, as well as health and safety requirements.

The finished work, known to James as The Lightening Dancer, is a bit of a “Frankenstein’s monster” by his own admission. “By its very nature, oak is zigzaggy and gnarly, and to keep it above head height across the ceiling, getting the angle right, could take forever,” he explains. “We used the middle part of the tree with other stable bits of wood added on, so there is clear space where people are walking, but you’ll be sitting underneath the work.”

Branches have been positioned across over the doorway and arch, while another goes diagonally across the room. Each glistens with oak leaves and acorns, strategically added for depth of foliage and to cast delightful shadows in carefully planned lighting.

James called upon his friend, St Ives metalworker Sharon McSwiney, who drew each leaf by hand and brought it to life in rich red, copper and golden patinated brass, using a photo-etching process.

“My designs were transferred onto the metallic surface,” Sharon explains. “Each leaf was then individually soldered to a wire or rod, heated a couple of times, sometimes with added flux, to create the variations of surface colour. I aimed to emulate the natural forms you would find on autumn leaves, and applied a lacquer coating to bring out the colours.

“The acorns are made using the lost wax casting method and an actual acorn, hence the very realistic appearance. These were given a polished finish to contrast with the copper leaves. There aren't many acorns on the tree, so it is lovely when you spot one!

“It was a really exciting project to be involved with, especially with the scale and the fact it was to be a permanent display at Heligan. I love to visit the Gardens, and now feel I have even more of a connection to them.” l