Natural Creativity
by Halima Cassell
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Dear Halima,
How do you describe your life as a Sculptor? As a sculptor my life today draws upon my experiences of the past and present. I was born in Kashmir, Pakistan, and grew up in the Northwest of England. Recently my family and I moved to Shropshire (border county between England and Wales) where we have nearly finished renovating a larger studio which has a magnificent view of the Shropshire hills, situated in an area of outstanding beauty. This new working environment has had a great impact on my work. I find each day is challenging in different ways and very rewarding. I find it exciting and unpredictable. No one day, week, month or year is the same. For example, I may be working on an exhibition, a commission or a project. My work has been exhibited extensively, including solo shows at ‘Outside In’ Belsay Hall, Castle & Gardens, (Northumberland 2016) and One Canada Square, Canary Wharf (London 2013) and the group show, ‘Things of Beauty Growing’, Yale Center (New Haven, 2017) and The Fitzwilliam Museum (University of Cambridge 2018). I was an invited guest at the World Contemporary Ceramics 4th Biennale in South Korea (2007), completed a residency and show in Fuki, Japan (2007), a residency at NCA and Indus Valley university, Pakistan, 2009 and received a scholarship from The Brian Mercer Trust, for stone carving in Pietrasanta, Italy, 2011. My work has won numerous awards and is held in public and private collections worldwide. |
photo credit: Ben Boswell |
Why is sculpture relevant in today’s reality?
Sculpture contributes to the quality of our lives. It is one element of what is good and positive about our everyday environment, to be a part of this makes what I do more relevant.
I enjoy sculpture in the public realm. It can be a landmark for people, it helps us communicate. Sculpture allows people to express themselves, they can come to their own judgement. You can smile, touch, frown, understand or be doubtful.
What do you see your creative flow rooted in?
Geometry is the starting point for my designs and I manipulate this to create illusions of movement. It enhances the interplay of light and shadow. In this way my work engages the viewer inviting further exploration. I combine architectural principles, movement and light by which I hope to engage the viewer in dialogue with my work and invite further exploration.
Where do you seek inspiration?
I seek inspiration from a diverse range of sources. I have been fascinated by the buildings of different cultures, especially those with elements which have been sculpted by hand.
The facets and shadows created as a result of these carvings are a part of this attraction. I try to capture how the play of light dramatizes and gives vitality to the architecture. It is the notion that these structures have a life presence which fascinate me. I imagine basic shapes, repeating, distorting and creating form in order to create beauty out of the earth.
For example, ‘Acapella’ a recent work, is inspired by, my deep love of music, the ripples and flows representative of musical movement and rhythm. The dark patina resembles a ‘nocturne’, a musical composition that is inspired by or evocative of, the night. The polished edges shimmer like the light created and transmitted through the dark sky, enhancing the overall movement of the heavily incised elements of the sculpture. The model for this piece was carved in clay and then cast in bronze.
Sculpture contributes to the quality of our lives. It is one element of what is good and positive about our everyday environment, to be a part of this makes what I do more relevant.
I enjoy sculpture in the public realm. It can be a landmark for people, it helps us communicate. Sculpture allows people to express themselves, they can come to their own judgement. You can smile, touch, frown, understand or be doubtful.
What do you see your creative flow rooted in?
Geometry is the starting point for my designs and I manipulate this to create illusions of movement. It enhances the interplay of light and shadow. In this way my work engages the viewer inviting further exploration. I combine architectural principles, movement and light by which I hope to engage the viewer in dialogue with my work and invite further exploration.
Where do you seek inspiration?
I seek inspiration from a diverse range of sources. I have been fascinated by the buildings of different cultures, especially those with elements which have been sculpted by hand.
The facets and shadows created as a result of these carvings are a part of this attraction. I try to capture how the play of light dramatizes and gives vitality to the architecture. It is the notion that these structures have a life presence which fascinate me. I imagine basic shapes, repeating, distorting and creating form in order to create beauty out of the earth.
For example, ‘Acapella’ a recent work, is inspired by, my deep love of music, the ripples and flows representative of musical movement and rhythm. The dark patina resembles a ‘nocturne’, a musical composition that is inspired by or evocative of, the night. The polished edges shimmer like the light created and transmitted through the dark sky, enhancing the overall movement of the heavily incised elements of the sculpture. The model for this piece was carved in clay and then cast in bronze.
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You have stated that the clay is your favourite medium although you don’t hesitate to work with a variety of other mediums. Was this a conscious decision or a coincidence?
Clay was my first love and my work has naturally evolved to include marble, wood, concrete, bronze, stone and glass. Each offering different challenges of mutability and scale.
I work with the exciting notion and awareness that clay changes its properties through the firing process becoming a permanent form, giving its existence a unique imprint on the world, resembling each and every one of us.
So my use of clay was a conscious act which I love.
Do you withdraw from ongoing debates of different natures to remain focused on your art or do you see your art as a way to make statements even in a subtle manner?
I am interested in the world around me. I love the evolving programme of exhibitions at the Yorkshire Sculpture Park and the work at the Tate and New RA in London.
But, my own work and focus is very important to me. The appeal for me about sculpture and working in three- dimensional form emerges from my own fascination with architecture and the natural environment around me.
Are you as tough of a critic of other artists’ works as you are of your own?
I would say I am quite a tough critic of other artists’ work because I am clear about what I like and don’t like, but often when I don’t like something I can still appreciate the craftsmanship, ideas and skill which has gone into making that piece.
Where do you find the determination to keep working as you do concentrating on the smallest details without ever losing sight of the big picture?
Visualizing the bigger picture (the final piece) is what keeps me focused - I can see the end result and what I need to do to achieve this.
What makes you feel appreciated as an artist?
To make sculptures which people visually love, but what is equally important is that feeling of being drawn in by the piece. I want people to be curious, feel compelled to interact with, and connect to my work.
Can you share with us a happy moment you’ve experienced lately?
I’m so happy to receive the grand prize from the Sovereign Art Foundation 2018. I was extremely excited by this, for me it was a wonderful privilege and opportunity for my work to be awarded this prestigious prize.
I have also been working on numerous exciting commissions, projects and exhibitions, one of which is my solo exhibition at Manchester Art Gallery in February 2019.
Clay was my first love and my work has naturally evolved to include marble, wood, concrete, bronze, stone and glass. Each offering different challenges of mutability and scale.
I work with the exciting notion and awareness that clay changes its properties through the firing process becoming a permanent form, giving its existence a unique imprint on the world, resembling each and every one of us.
So my use of clay was a conscious act which I love.
Do you withdraw from ongoing debates of different natures to remain focused on your art or do you see your art as a way to make statements even in a subtle manner?
I am interested in the world around me. I love the evolving programme of exhibitions at the Yorkshire Sculpture Park and the work at the Tate and New RA in London.
But, my own work and focus is very important to me. The appeal for me about sculpture and working in three- dimensional form emerges from my own fascination with architecture and the natural environment around me.
Are you as tough of a critic of other artists’ works as you are of your own?
I would say I am quite a tough critic of other artists’ work because I am clear about what I like and don’t like, but often when I don’t like something I can still appreciate the craftsmanship, ideas and skill which has gone into making that piece.
Where do you find the determination to keep working as you do concentrating on the smallest details without ever losing sight of the big picture?
Visualizing the bigger picture (the final piece) is what keeps me focused - I can see the end result and what I need to do to achieve this.
What makes you feel appreciated as an artist?
To make sculptures which people visually love, but what is equally important is that feeling of being drawn in by the piece. I want people to be curious, feel compelled to interact with, and connect to my work.
Can you share with us a happy moment you’ve experienced lately?
I’m so happy to receive the grand prize from the Sovereign Art Foundation 2018. I was extremely excited by this, for me it was a wonderful privilege and opportunity for my work to be awarded this prestigious prize.
I have also been working on numerous exciting commissions, projects and exhibitions, one of which is my solo exhibition at Manchester Art Gallery in February 2019.