Andrew Sinclair is one of Great Britain`s rising stars in figurative and surrealist sculpture. Self-taught, his background in screen printing, clay modelling and his skill as a bespoke cabinet maker has given him the eye for detail which has contributed to his on-going success today. Andrew has lived in South Africa and worked in Europe and is influenced by the great classical sculptors of the renaissance. Andrew now lists the Earl and Countess of Leicester, Oldham City Council, Christopher Moran of Crosby Hall, publisher Felix Dennis, Georgio...
Andrew won a silver medal in Spectrum for his Moodius sculpture in 2005, so four years later he decided to revisit his character, but this time capturing him in movement. The sculpture was inspired by a terracotta Andrew saw in the Modern Art museum in Rome, At the time he was furious because he couldn?t get into the gallery Borghese Art Museum that he had made a specific journey to see. So in short, he was forced to visit the Modern Art Gallery (which as luck would have it) was one of the most splendid museumshe says he has ever seen. The piece that inspired Moodius was a small terracotta sculpture with a girl riding on his shoulders, as opposed to his back, which would be the most logical composition. The idea struck and inspired Andrew, later resurfacing as the dynamic humano-equine sculpture you see here. See also his figurative nude sculptures... Kakabel Scheeming and Kneeling Girl
This was probably one of the most difficult sculptures I have sculpted to date. Technically it abounds with problematic conundrums, mainly because of the volume of detail which characterizes this sculpture. At only 28 inches tall, there is a lot of fine tooling to fit into a small space and features like the hands and feet dry out very quickly, too fast in fact to be able to sculpt the whole thing before it cracks and falls to pieces. To circumnavigate this obstacle, I sculpted a generic horse head, with no lips or nose and moulded it separately. Then I could cast the five heads needed and place them in position, modeling the facial expressions for each horse in wax, so that they were safe from drying out. This allowed me to concentrate on the rest of the sculpture, which I then more or less finished except for the hands and feet. These I did at the very last minute and as each one was completed I covered them carefully in silicone rubber to seal them before moving onto the next. This way I completed the sculpture with very little stress and a great deal of enjoyment and satisfaction.
71 x 40 x 50 cm (height x width x depth)
approx: 2 ft 4 in x 1 ft 3 3/4 in x 1 ft 7 2/3 in It is a 0.13 times lifesize sculpture
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Peter de Sausmarez.