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What I Do is Me Sculpture

Tim Hollins

United Kingdom

Sculpture, Bronze on Stone

Size: 22 W x 108.3 H x 16.5 D in

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501 Views
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About The Artwork

'What I do is Me: for that I came' is the last line of a powerful poem by Gerard Manley Hopkins, to which this piece responds. It is an assertion of selfhood, of being, an expression of the undeniability of identity. The form, while abstract, responds to elements described in the poem - a diving kingfisher, a swung bell, a 'rim of roundy well'. It is a leap, an assertion and a commitment. I have a number of pieces around the theme of identity and being, assertion of self and commitment. Here is Hopkins' beautiful poem: As kingfishers catch fire, dragonflies draw flame; As tumbled over rim in roundy wells Stones ring; like each tucked string tells, each hung bell’s Bow swung finds tongue to fling out broad its name; Each mortal thing does one thing and the same: Deals out that being indoors each one dwells; Selves — goes itself; myself it speaks and spells, Crying What I do is Me: for that I came. The work is in bronze on a Portland stone plinth, with stainless steel inscription of the poem, and is in an edition of 12.

Details & Dimensions

Sculpture:Bronze on Stone

Original:One-of-a-kind Artwork

Size:22 W x 108.3 H x 16.5 D in

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I have sculpted for over 30 years. For me, sculpture is visual poetry, form imbued with meaning. Each line of a poem adds to the power of the whole, making us gasp with recognition and understanding of some greater truth. In the same way, each sculptural line builds a form that extends beyond the piece and, at its best, says something we instinctively know about the human condition or the universe. Art reminds us what a wonderful and diverse world we live in. It opens the mind, nudges the imagination and lifts us from day-to-day thoughts and constraints. In my sculpture I seek to evoke exactly these responses. My work is to be touched, with both the eyes and the fingers, but above all to be felt at the root of our emotions. There is no more powerful statement of the interpretive role of the artist than Barbara Hepworth’s: “I, the sculptor, am the landscape, the hollow, the thrust and the form.” Over the years I have explored both figurative and abstract forms, as well as the intersection between the two. I create in whatever medium is appropriate to the idea - sometimes modelling in clay, wax or plaster; and sometimes carving directly in wood. The idea can come quickly, the realisation slowly and patiently - and the casting into bronze and patination then a further careful process-driven element of the creation. Every stage is equally important, and the finished form is a combination of emotional and physical investment, of love and care and passion that is both a struggle and a joy.

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