Mark Coreth Aspects of Africa 2017

Mark Coreth Aspects of Africa

Sladmore Contemporary

Mark Coreth Aspects of Africa

Sladmore Contemporary

32 Bruton Place 路 Mayfair 路 London W1J 6NW 路 T: 020 7499 0365 路 www.sladmorecontemporary.com

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Aspects of Africa I

a future exhibition... ‘The Story in the Snow’. Even with this breadth of experience, Africa and in particular Kenya keeps drawing me back and back... it has a spell that is unavoidable, once it, its people and its wild environment are in your blood it is there to stay. The Kenyan bush is so compelling and its wildlife deeply inspiring as are its people, geography, geology and ancient history.

was fortunate enough to be brought up on a farm in Subukia up the Rift Valley in Kenya. An idyllic childhood in so many ways. Big views, big sky, huge dimensions, extremes of weathers but happy memories of life and friends both human and wild. It is easy to idealise one’s childhood, but my early life in Kenya has been so influential in how I have lived my life thereafter. It gave me a passion for wildlife, wild spaces, freedom, three dimensions, flight, exploration, people and a deep desire to do my bit to help preserve this magical but delicate part of the world as well as the planet as a whole.

If I had a magic lamp I would ask the genie within to grant me the following: I would like to take giant bounds back through African history. First bound back 50 years to my childhood farm in Subukia, then 100 years back again to when Kenya was in the nappies of its recent history. I then want to go back 200 years, 400 years, doubling each bound... in 17 bounds I might have the chance of meeting ‘Lucy’ Australopithecus afarensis who lived some 3.2 million years ago and whose remains were discovered in 1974. One thing that I would for sure notice however is that the vast majority of change would have happened within my first two bounds, before that point the continent was truly wild. I would also and very firmly ask my genie that we could at the very least conserve what remains of this wild and magnificent continent and ideally let it recover towards its former glory.

In modern terms Kenya is a young country. From the days of colonisation, through independence, mechanisation, industrial developments, large and technical scales of farming and exportation, discovery of minerals... all that is new and young. Along with this youth come issues, teething problems. Corruption grows like a cancer, there is huge poverty amongst the ever expanding population.

There is starvation, health care issues, poaching, terrorism, all this mixed with natural extremes such as drought...

Aspects of Africa that are so evident far too often but evident also is the hope and magic that has always been Kenya. There are thankfully many remarkable and selfless people doing amazing works and in all the spheres of life making the country functional and giving it the magic spell.

With this exhibition I want to support wildlife conservation through the Big Life Foundation www.biglife.org and through the Great Plains Foundation www.greatplainsfoundation.com and also help the people of Kenya through the Harry Dyer Burn Center, (see eskenazihealthfoundation.org). Fire, in what can be a dry and hot country with people daily depending on it for cooking or warmth at night, is a major hazard.

Harry’s dramatic survival after his perilous flying accident highlights the urgency and need in the country.

Over the past years I have crossed the world investigating wild places and sculpting as I go. I have travelled to: India, the Arctic, the South Atlantic, The Americas, Himalayas and recently through the Holy Land and specifically Jerusalem, creating a major work for The Order of St John, described at the end of this catalogue. In February this year I travelled to the depths of the Taiga forest in Siberia to work with the Amur Tiger which will be the subject of

All sculptures are cast in bronze in a limited edition of only 9 copies, signed and numbered by the artist.

The monumental sculptures are editions of only 3.

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Incredible speed in what appears to be almost slow motion, a wacky and wonderful gait.

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1. Running Giraffe Bronze · 58cm h x 84cm w x 20cm d

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Surely one of Africa’s most elegant antelopes.

Their movement through the bush can be practically silent. Their sleek looks and twisted horns are natural sculpture, its motion is unutterably beautiful.

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2. Walking Kudu Bronze ¡ 53cm h x 50cm w x 15cm d

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These scavengers of the plains receive a mixed press. You may love them or hate them‌ I advise the former, just sit and observe a troop and soon you will admire and love them!

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3. Roaring Baboon Bronze ¡ 36cm h x 46cm w x 11cm d

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Not everything in the bush is blessed with ravishing beauty and the Marabou Stork falls into one of the less beautiful birds category, but sculpturally it has fantastic lines and enormous character, it should not be dismissed in either its sculptural form or in nature.

There are some subjects that I hark back to time and again, this portrait of a hunting cheetah is one such‌ it is an image I find constantly compelling.

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4. Cheetah Bust

5. Marabou Stork

Bronze ¡ 54cm h x 43cm w x 28cm d

Bronze ¡ 45cm h x 26cm w x 14cm d

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In the Secretary Bird we see a raptor that has adapted to its way of life in a remarkable way; nature is wonderful! It is a bird made for walking and hunting snakes on terra firma and for that reason has become a fabulous subject for a sculptor with its long and elegant legs, balanced by the tail feathers and with the trademark quills of a secretary. Even the great Rembrandt Bugatti fell in love with them and sculpted them!

6. Secretary Bird Bronze ¡ 76cm h x 76cm w x 15cm d

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The leap of the Impala is legendary, their explosive jumping away from danger may be designed to confuse the predator but sure enough it leaves us human observers in awe.

7. Impala Line Bronze ¡ 38cm h x 101cm w x 20cm d

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The Crocodile is a very hard creature to sculpt in a dynamic way without being too brazen and punchy to its victim…! Sitting by the Mara River watching the great spectacle of the crossings of hundreds of wildebeest and zebra I just could not help but imagine what challenges were under the frothing surface of the brown water… crocs, swimming, hunting, choosing that victim!

This sculpture leaves your imagination writing the story ahead.

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8. Crocodile Pair

9. Standing Flamingo

Bronze · 32cm h x 45cm w x 26cm d

Bronze · 43cm h x 20cm w x 10cm d

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Here we have a typical field study I made out in the Serengeti, under the sun and sky with drama all about‌ that is the value of travel and experience in Africa. It is from this initial sketch that I then work up the larger studio pieces when I get it home. I hope these maquette studies capture something of the excitement and joy I feel sculpting out in the bush.

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10. Giraffe and Gnu Bronze ¡ 26cm h x 38cm w x 14cm d

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One Ton is truly a magnificent elephant, he has seen half a century go by, he is the dominant bull in his area and is remarkably just one of several big tuskers within his bachelor herd. I first saw and sculpted him a dozen years ago before he broke his tusk. The weight and size of his ivory is extraordinarily impressive, I hate to think what it could be in monetary terms on the black market.

BUT... the value of the elephant should not be measured in $ signs – it should be measured in his sheer magnificence. One Ton is a real gentleman of the bush, he has a remarkable temperament.

Sitting quietly in his presence you feel a true sense of honour and respect towards the animal.

His genes and wisdom are invaluable for the future of Elephant in his part of Kenya and Africa as a whole.

11. one Ton, Bull Elephant Bronze ¡ 45cm h x 79cm w x 38cm d

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12. Study for One Ton Bronze · 18cm h x 30cm w x 14cm d

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Trying to capture the speed in a flat-out running cheetah has always fascinated me from my very early sculpting days, indeed capturing life and motion along with the interplay between two animals has been a passion. The impala is very agile although slower than the cheetah at full tilt‌ one will win the day, which one will live to see another day or live to eat!? The study I am working on in my studio (see no. 27) illustrated here works equally well as a group with the Cheetah or on its own.

13. Galloping Cheetah Bronze ¡ 26cm h x 64cm w x 15cm d

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Now here is something a little different!

This Hippo is bronze but a bronze with a very high nickel content and so shines practically like silver. I have for a long time wanted to experiment with this look… and the balloon like shape and shiny surfaces seemed to cry out, I am chuffed with the outcome.

The African Hunting Dog or Wild Dog are under such terrible pressure from the conservation view point. To see them in action is very exciting. Lean, powerful animals, the ultimate endurance runners.

Much loved by all those who see them on safari.

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14. Wild Dog Group, on the prowl

15. CHarging Hippo

Bronze · 18cm h x 67cm w x 14cm d

Bronze · 28cm h x 69cm w x 18cm d

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16. leopard on branch

17. leopard Bookends

Bronze · 29cm h x 32cm w x 8cm d

Bronze · 29cm h x 31cm w x 12cm d

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18. large running ostrich

19. large Cheetah Pair

Bronze ¡ 2.1m h x 1.8m w x 1m d

Bronze ¡ 1m h x 2m w x 0.5m d

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How to depict the famous river crossing and its dynamics? Every second changes, more and more beasties take the plunge‌ so this sculpture is really open for you to play with and develop, you should move the flow of animals like a puzzle, more can and may be should be added. It is in effect a unique piece that I hope captures the chaos and drama of that amazing quintessential African scene.

20. mara River, Migration Bronze ¡ 22cm h x 56cm w x 38cm d

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My sculpture of running ostriches is far more dramatic but movement need not be fast, motion can be practically static.

In this a study of an ostrich, a bird that is renowned for some wacky antics and dramatic speed, I wanted to capture its quiet relaxed grace and unusual form.

21. Feeding Ostrich Bronze ¡ 29cm h x 28cm w x 18cm d

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22. Galloping Ostriches Bronze · 25cm h x 86cm w x 15cm d

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I met this young Lesser Kudu, at Borana in Michael & Nicky Dyer’s garden, they had recently rescued it, and I found it an irresistible sculptural subject.

23. Young Lesser Kudu Bronze · 29cm h x 40cm w x 14cm d

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Rhinos have featured in the Coreth story from way back when my father started a Trust called Rhino Rescue a quarter of a century ago. Since then I have sculpted many of these ancient beasts but for some reason, in the past, my focus has been on the Black Rhino. Equally magnificent and very sadly equally endangered by the poaching trade is the White Rhino, now I salute it with this study… the day that Africa loses its rhino will be a very dark day indeed.

24. SMall WHite Rhino Bronze · 13cm h x 28cm w x 9cm d

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Here, in this studio shot you see a test for a sculptor and his powers of observation and recollection. The Von der Decken hornbill is one of Africa’s charmers. You see them flitting through the thorn scrub but also cheekily helping themselves to your mango on the breakfast table, a great place to observe this delightful and uplifting bird, they are worth the loss of some mango!

Although much of my work is done as field studies, these are really my sketchbook, albeit in 3D. It is when I get home and into the studio in Wiltshire that I let my imagination rip with all the ideas and sights recalled from the experiences in the bush.

I like to work with little if any reference to physical pictures, I like only to use those captured in my internal thought bubble.

25. Hornbill, Zazu Bronze ¡ 20cm h x 15cm w x 133cm d This piece will be cast in bronze at the exhibition 42

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Flight is quite hard to achieve in what is inevitably a weighty material like bronze but a flock of guinea fowl threw down the gauntlet and I am chuffed that they did!

26. Guinea Fowl Line Bronze ¡ 25cm h x 71cm w x 45cm d

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27. Galloping Impala Bronze ¡ 33cm h x 20cm w x 40cm d This piece will be cast in bronze at the exhibition 46

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TREE OF HOPE Muristan, Jerusalem

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he Old City of Jerusalem has innumerable ancient roots. But one of the newest ones has just been planted. Mark Coreth has created a bronze ‘Tree of Hope’ – an olive tree with swifts swirling above it as a canopy, which now stands in the centre of Muristan, a crusader hospital complex near to the Church of the Holy Sepulchre within the city walls.

Commissioned by St John Eye Hospital, it is a testament to the role of medicine, arts and culture as a bridge between communities. And the tree now stands in the courtyard of a functioning eye clinic for East Jerusalemites of all persuasions – and has already become a landmark and focal point for tourists.

Mark came up with the idea of modelling an olive tree (symbol of the city and all its peoples) in a grove near Bethlehem. Instead of leaves, he has cast hundreds of bronze swifts which swoop and scream in a joyous flock above the tree. He sees the swifts as a symbol of pilgrimage, dynamic movement , freedom and most of all: hope for the future.

“The birds nest in the Wailing Wall each year”, Mark said, “and I see them as a symbol hope for the world at large as they travel thousands of miles on their annual pilgrimage through the Holy Land to the north.”

Mark has travelled around the Holy Land attaching further bronze swifts to hospital walls in Gaza and elsewhere in the West Bank. He explained: ‘The swifts around the world are all considered part of the same sculpture. So essentially this project has its roots firmly embedded into Jerusalem soil, but will spread further and further as the idea spreads its metaphorical and literal wings’.

Mark has given all the proceeds from the continuing sales of single bronze swifts and groups of three to the Order of St. Johns Charity, with impressive sums already raised. He hopes to see them attached to walls all over the world in this excellent cause, and maybe other copies of the Tree of Hope itself will find new sites one day.

Lucy Lyon

(opposite) 28. THree Swifts Bronze · 23cm h x 75cm w x 5cm d

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30. Tree of Hope Bronze, life size, edition of 3

29. Tree of Hope (Small) Bronze · 25cm h x 26cm w x 26cm d

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Recent Commissions and Installations

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I was asked as a wild card to take part in a tender process to create a life size sculpture of the indomitable and world famous racehorse Frankel. And I was very grateful to get the nod. What a fantastic chance to work with this quite spectacular race horse, to be able to get to know him and the team surrounding him. The one thing that struck me was how deeply LOVED Frankel was by everyone who worked with him. The horse has a real presence to be admired. I was asked by Prince Khalid Abdullah, the owner, to create him not at full stretch as one might have expected but in his regal splendour as a stallion at stud. The ability therefore to hide in dynamic the movement of a race horse was taken from me‌ but actually this left me with the challenge of capturing life in a static way.

The sculpture now stands at the Stud, the National Horseracing Museum, Newmarket, York Racecourse, and at Ascot Racecourse where it was unveiled by Her Majesty the Queen. The sculpture at the latter two locations overlooks the winners enclosure as if in salute. The small maquette of him in full flight I made as a study whilst preparing the life size statue.

Galloping Frankel Bronze ¡ 20cm h x 32cm w x 9cm d

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Guardian Tiger Pair Bronze · life size · Queenstown Lakes, New Zealand

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I was asked by Prince Robert of Luxembourg to create for him the Guardian of Chateau Quintus, his recently acquired vineyard in St Emilion in the region of Bordeaux. He wanted a 4.5 metre high Dragon… This was bound to be fun and very different. Apart from anything else I like to sculpt from life experiences and dragons are not one of them… and before any one mentions Mothers in Law… she is far from being a dragon. I made the piece in my studio in Wiltshire but decided to cast it in a wonderful foundry in the mountains north east of Prague in the Czech Republic.

This decision added layers of fun and adventure as I took the opportunity to fly there whenever possible in my small Jodel aeroplane. The Dragon has become a popular feature in Bordeaux just as it should, and the Quintus vineyard it stands on the hill protecting makes some seriously delicious wines.

Quintus Dragon Bronze · Chateau Haut Brion, France

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So why a running bear?! We could not resist adding it in to this show as in April 2016 I fulfilled one of my mini ambitions and that was to see and sculpt the European Brown Bear in its natural environment. I had such fun… I filled the back of my small Jodel aeroplane with wire and plasticine and set forth to Romania and more specifically Transylvania. The Carpathian mountains are wild and beautiful, stuck in a time warp. It was wonderful to see bear and boar where bears and boars have forever roamed… I returned with my trophy in plasticine and here you have it!

All my subjects are wild… just some wilder than others, this lurcher was on the tame end of the spectrum but as sleek as a cheetah! Domestic commissions are a fabulous change from the wild environments and are a very good discipline. They make you work every bit as hard in many ways as the animal in the bush but are usually more generous with their time.

31. Running Black Bear Bronze · 25cm h x 38cm w x 16cm d 32. Stretching Lurcher Bronze · 15cm h x 38cm w x 18cm d 33. Fallow Dear Bronze · 53cm h x 53cm w x 25cm d

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MARK CORETH b.1958

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finally to the foundry to see the final casting of the bronze.

The finished bronze elephants currently reside in a public collection in Rome and a private collection in Australia.

ark Coreth was born in London in 1958 and was immediately dispatched to the family farm in the Kenyan highlands where the Equator ran through the house. Black and white Colobus monkeys leapt amongst the branches in the trees behind the house where leopard and cheetah also lived. This idyllic African childhood fostered Mark’s early and continuing passion for wildlife.

Following a visit to the Arctic in 2010 he determined to bring home the fragility of the eco-system through his sculpture. He conceived and created ‘The Ice Bear Project’ where He made an enormous bronze Polar Bear skeleton and encased it in a giant block of ice which he then carved in front of the public. This large Polar bear made of ice was then allowed to melt on site while people touched it, revealing the haunting bronze skeleton inside. This project has been recreated in London’s Trafalgar Square and at climate change conferences in Copenhagen, Sydney ,Ottawa and other locations. Where it helped raise awareness of the whole climate change debate, and reminded people of the extraordinary fragility of the many endangered species.

After prep school in Kenya, Mark attended Ampleforth School and on leaving joined The Blues and Royals, serving with the Regiment as a regular officer. He has spent time in England, Cyprus, Germany, Ireland and the Falkland Islands during the 1982 hostilities. On his return to England he was commissioned to make a silver sculpture of his regiment’s drum horse “Belisarius”, for the Warrant Officer’s Mess and later a second cast in bronze became the Household Cavalry’s wedding present to The Duke and Duchess of York; his first commission, a taste of many more to come in the following years.

Two major commissions in 2015 cemented his international reputation. The first was unveiled at Chateau Haut Brion in France. The 4 meter high Dragon of Quintus commissioned

by Prince Robert of Luxembourg, stands proudly on a hill overlooking the vineyards. This spectacular sculpture of the fabled fantastic beast and symbol of the fine Quintus wine already attracts thousands of visitors to the area.

Whilst Mark has had no formal art training his ability is based quite simply on dedication and hard work coupled with an acute and perceptive eye, drawing heavily on experiences gained during his early years in Kenya.

Mark’s sculptures reflect his instinctive understanding of the moods of the animals he sculpts. Working with extraordinary speed, if the original plasticine or clay fails to speak to him within a couple of hours Mark destroys it and starts again. He captures violence, speed, tranquillity and pathos with deceptive ease, and is now internationally recognized as a master sculptor of the animal in motion.

At Royal Ascot in 2016 Her Majesty the Queen unveiled Mark’s magnificent sculpture of Frankel the world famous racehorse. This life size portrait bronze commissioned by Prince Khalid Abdullah and his Juddmonte stud of their multi prize winning racehorse has been greeted with enormous acclaim. Copies of the life size sculpture stand at Ascot, York and at the stud itself.

Coreth’s unusual working methods include modelling in clay direct from his subjects, live in the field; a practice which vividly translates into the fluid and impressionistic nature of his sculpture, capturing both the spirit of the animal but also that of their environment. Coreth feels that this allows him to enter the mind-set of his subjects and in so doing, capture the essence of their energy.

Coreth is a dedicated supporter of many wildlife charities including The Order of St John and the Ice Bear project, just two examples of his approach to raising funds and awareness of critical environmental issues. His tireless campaigning and generosity has raised very large sums at charity auctions across the years. In a very real sense, Coreth’s relationship to his subjects is journalistic, with the firm intention that his sculptures will both touch the viewer and raise awareness of the huge challenges that conservation raise for us all. Whilst not detracting from the beauty and wonder and joy we can all share in appreciation of the natural world.

As well as his regular one-man shows at Sladmore Contemporary Mark shows regularly in Paris, New York and other locations all over the world. His many monumental commissions include a life-size piece of two Cheetahs in a tree for the ruling family in Dubai, a life-size figure of a boatman which sits outside Shakespeare’s Globe Theatre, a shoal of rays in the Docklands and an intricate 50 piece fountain at the Natural History Museum. His most spectacular commission to date has been an enormous 18 foot high life-size charging elephant; the subject of a half hour documentary on the Discovery Channel. Where the film-makers followed him on safari while he made his initial studies, back to his studio for the creation process and

Whilst Coreth cites the great Rembrandt Bugatti as artistic inspiration, it is clear that his abiding inspiration and muse is that natural world in all its living, breathing glory. Mark brings us close to a world many of us may never see as he has done in the wild , but we can experience its compelling wonder through the beauty of his sculpture.

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Jamie Coreth painting Mark Coreth: ‘Dad sculpting me’, 2016, oil on linen, 100cm x 120cm.

Winner of the Young Artist BP Portrait Award, 2016. Please direct enquiries to Fine Art Commissions Ltd.

List of Exhibitions 2004

Fasig-Tipton, Saratoga Springs, New York Crossgate Gallery, Lexington, Kentucky Winner, National Sandcastle Building Competition One-man exhibition at the Sladmore Gallery

2005

One-man exhibition, Galerie la Cymaise, Paris, France Life-size Bear installed in Alton, Hampshire

2006

Agreement reached with Creative Touch and the Discovery Channel for television programmes One-man exhibition at the Sladmore Gallery

2007

Life-size Elephants installed in Rome and Sydney ‘Art London’ contemporary art fair

2008

Grosvenor House Fine Art Fair One-man exhibition at the Sladmore Gallery

2009

Ice Bear Project, Copenhagen, London Woburn Abbey Gardens Monumental Sculpture show Grosvenor House Art and Antiques Fair

2010

Ice Bear Project, Montreal, Quebec City, Ottawa and Toronto Masterpiece Fair, Chelsea, London One-man exhibition at the Sladmore Gallery

2011

TEFAF, Maastricht Masterpiece Fair, Chelsea, London

2012

One-man exhibition at the Sladmore Gallery Masterpiece Fair, Chelsea, London

1999 Waterhole commission for The Natural History Museum, London

One-man exhibition, Galerie la Cymaise, Paris, France

Deer and Ram installed for The Leathersellers Company

2013

One-man exhibition at the Sladmore Gallery James Graham Gallery, New York (mixed exhibition)

2014

‘Dragon’ commission for Prince Robert of Luxembourg Commission for ‘Frankel’

2000

Art London contemporary art fair One-man exhibition at the Sladmore Gallery

2001

One-man exhibition at the James Graham Gallery, New York Life-size Leopards installed, Perenco, Paris

2015

Unveiling of ‘Frankel’ at Royal Ascot Masterpiece, Chelsea One man exhibition at Sladmore Contemporary

2016

‘Frankel’ unveiled at York Racecourse and Juddmonte Stud

2002

One-man exhibition, Galerie la Cymaise, Paris, France One-man exhibition at the Sladmore Gallery

2003

Cowdray Park masterclass and exhibition

2017

Spirit of the Horse, Messum’s, Wiltshire (mixed exhibition) Royal Ascot Sculpt at Kew, Royal Botanic Gardens, Kew

1986

First one-man exhibition at the Sladmore Gallery Commissioned to sculpt and cast Belisarius, regimental drum horse, as a wedding gift for the Duke and Duchess of York

1990

One-man exhibition ‘Glimpse of Africa’ at the Sladmore Gallery

1992

One-man exhibition ‘Power and Motion’ at the Sladmore Gallery

1993

One-man exhibition, Galerie la Cymaise, Paris, France ‘ZooSculpt ‘93’, Regents Park, London

1994 Newbury Spring Festival exhibition

‘Animal Sculpture’, Maeda Environmental Art Co Ltd, Tokyo

One-man exhibition at the Sladmore Gallery 1995

One-man exhibition, Galerie la Cymaise, Paris, France

1996

One-man exhibition, Martyn Cook Gallery, Sydney, Australia Life-size Cheetah commission unveiled in Dubai One-man exhibition at the Sladmore Gallery

1997

One-man exhibition, Galerie la Cymaise, Paris, France Winner of an open competition for The Leathersellers Company sculpture commission

1998

One-man exhibition, Fale Fine Art, Jersey The Globe Theatre commission unveiled One-man exhibition at the Sladmore Gallery

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harry dyer burn centre at Moi Referral and Teaching Hospital

$2 MILLION CAMPAIGN FOR THE HARRY DYER BURN CENTER

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Future site of the Harry Dyer Burn Center

he Harry Dyer Burn Center will be located within the Moi Teaching and Referral Hospital in Eldoret, Kenya. Moi Teaching and Referral Hospital opened in 1917 and has grown tremendously over the last century.

To date, the hospital has more than 800 patient beds and all major services, including diagnostic and supportive facilities that range from laboratories to laundry facilities.

The hospital is invested in the success of the burn center. They generously provided the land on which the burn center will be constructed and will ensure the sustainability.

throughout Africa, through prevention programs. To accomplish this, its physical and staffing capacities must increase. The construction of the Harry Dyer Burn Center will include the following areas: public and administrative space with a waiting room and restrooms; a fully equipped operating room; patient care area with 30 beds; physiotherapy area with a hydrotherapy pool; an occupational therapy room; and a conference room to allow for daily, multidisciplinary team meetings. The new facilities will be fully equipped with the high quality equipment necessary to treat all burn victims.

The hospital’s current burn unit is highly inadequate in meeting expectations of a referral hospital and teaching center, as well as lacking the capacity to meet the needs of the patients. Currently, the unit operates with only six beds in a single, crowded room. Yet, it had 40 admissions and 3072 occupied bed days in 2015.

Along with the new and expanded facilities, additional local staff will be hired and trained. Currently, the unit is served by: one plastic surgeon, one registrar, one nutritionist, two occupational therapists, and one physiotherapist. Furthermore, Eskenazi Health and other IUSM physicians, nurses, social workers, students, and other staff will make regular trips to the new facility to aid in training and performing complex surgeries, much as Dr. Sood’s teams have done with the location in El Salvador.

The Harry Dyer Burn Center’s primary goal is to improve the quality of life for burn survivors and, ultimately, diminish the incidence of burn injuries in Kenya, and

The Burn Unit at Moi Teaching and Referral Hospital

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Acknowledgements: Nick Brandt, Emma Freeman, David Murray.

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