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5 of the 8 works exhibiting for @gallery57_contemporaryart’s 10th anniversary show opening on 11th April ‘TEN’

INTRODUCING TEN

“Ten years; a decade dedicated to discovery, learning, listening, observing, creating, curating and planning.

This year we celebrate the gallery’s 10th birthday with ten artists who I feel have played key roles in
influencing the direction of our curated exhibitions which have developed organically over time.

When reading through the list of ten artists, I realised that for most, their work is not regularly seen in UK galleries although they are all established, respected and fully committed. They are not prolific makers; their working methods are slow and often complex. Nevertheless, they have each built their followers and collectors. Some are generous teachers or work to commission and have built their reputations in that way.

Their individual approaches and the outcomes they arrive at align with my own preference for quietness in art through structure, form, balance, surface and repetition, grounded by natural materials and often earth colours.

Processes are thoughtful and meditative, materials are understood and respected, worked with integrity. In turn, I respect the patience and well practised skills required to reach each finished piece which reflects this quiet way of working.

I am delighted with how this exhibition has come together and hope you will enjoy celebrating with us.” - Ann Symes / gallery owner & curator.

#contempoaryart #exhibition #artcollector

Patina magic.

The last buried bronze has finally resurfaced after 350 days spent earth bound. A thrilling day filled with a range of emotions as you’d expect from such a long time hoping and praying that all those decisions I’d made had paid off.

This vessel being the middle of the chosen burial time frames, with the shortest being 300 and the longest 400 days, has produced a very different patina. The depth and density of browns, purples and tangerines around the opening brings to mind far off galaxies in deep space, while the bottom has grown more verdigris oxides and similar alien formations as I’ve become accustomed to by this archaeological process.

Choosing to highly polish each sculpture by hand before burial raised a few eyebrows, my own included. The polishing process took as long as it did to produce the sculptures themselves, consequently instilling a deep reverence for all shiny metals I’ve come across since. Regardless of all the time spent following a pipeline dream I can safely say it was all worth it.

Trying to document these works through my camera lens has been tricky, presenting new material issues that wood cannot and I’ve had to learn new techniques to do these incredibly delicate and complex surfaces justice. Even still, the images I have managed to capture pale in comparison to being viewed in person when the sun is shining, glowing and glistening like the otherworldly objects they’ve become.

@qestcraft
@wearespacer

#patina #bronzesculpture #contemporanyart #archeology #surfacedesign #artobject #qest #craftsmanship #fineart #sculpture #artiststudio #artjournal #trusttheprocess #artanddesign #artofvisuals #surface #metalwork #upcomingartist

Patina magic.

The last buried bronze has finally resurfaced after 350 days spent earth bound. A thrilling day filled with a range of emotions as you’d expect from such a long time hoping and praying that all those decisions I’d made had paid off.

This vessel being the middle of the chosen burial time frames, with the shortest being 300 and the longest 400 days, has produced a very different patina. The depth and density of browns, purples and tangerines around the opening brings to mind far off galaxies in deep space, while the bottom has grown more verdigris oxides and similar alien formations as I’ve become accustomed to by this archaeological process.

Choosing to highly polish each sculpture by hand before burial raised a few eyebrows, my own included. The polishing process took as long as it did to produce the sculptures themselves, consequently instilling a deep reverence for all shiny metals I’ve come across since. Regardless of all the time spent following a pipeline dream I can safely say it was all worth it.

Trying to document these works through my camera lens has been tricky, presenting new material issues that wood cannot and I’ve had to learn new techniques to do these incredibly delicate and complex surfaces justice. Even still, the images I have managed to capture pale in comparison to being viewed in person when the sun is shining, glowing and glistening like the otherworldly objects they’ve become.

@qestcraft
@wearespacer

#patina #bronzesculpture #contemporanyart #archeology #surfacedesign #artobject #qest #craftsmanship #fineart #sculpture #artiststudio #artjournal #trusttheprocess #artanddesign #artofvisuals #surface #metalwork #upcomingartist

Patina magic.

The last buried bronze has finally resurfaced after 350 days spent earth bound. A thrilling day filled with a range of emotions as you’d expect from such a long time hoping and praying that all those decisions I’d made had paid off.

This vessel being the middle of the chosen burial time frames, with the shortest being 300 and the longest 400 days, has produced a very different patina. The depth and density of browns, purples and tangerines around the opening brings to mind far off galaxies in deep space, while the bottom has grown more verdigris oxides and similar alien formations as I’ve become accustomed to by this archaeological process.

Choosing to highly polish each sculpture by hand before burial raised a few eyebrows, my own included. The polishing process took as long as it did to produce the sculptures themselves, consequently instilling a deep reverence for all shiny metals I’ve come across since. Regardless of all the time spent following a pipeline dream I can safely say it was all worth it.

Trying to document these works through my camera lens has been tricky, presenting new material issues that wood cannot and I’ve had to learn new techniques to do these incredibly delicate and complex surfaces justice. Even still, the images I have managed to capture pale in comparison to being viewed in person when the sun is shining, glowing and glistening like the otherworldly objects they’ve become.

@qestcraft
@wearespacer

#patina #bronzesculpture #contemporanyart #archeology #surfacedesign #artobject #qest #craftsmanship #fineart #sculpture #artiststudio #artjournal #trusttheprocess #artanddesign #artofvisuals #surface #metalwork #upcomingartist

Patina magic.

The last buried bronze has finally resurfaced after 350 days spent earth bound. A thrilling day filled with a range of emotions as you’d expect from such a long time hoping and praying that all those decisions I’d made had paid off.

This vessel being the middle of the chosen burial time frames, with the shortest being 300 and the longest 400 days, has produced a very different patina. The depth and density of browns, purples and tangerines around the opening brings to mind far off galaxies in deep space, while the bottom has grown more verdigris oxides and similar alien formations as I’ve become accustomed to by this archaeological process.

Choosing to highly polish each sculpture by hand before burial raised a few eyebrows, my own included. The polishing process took as long as it did to produce the sculptures themselves, consequently instilling a deep reverence for all shiny metals I’ve come across since. Regardless of all the time spent following a pipeline dream I can safely say it was all worth it.

Trying to document these works through my camera lens has been tricky, presenting new material issues that wood cannot and I’ve had to learn new techniques to do these incredibly delicate and complex surfaces justice. Even still, the images I have managed to capture pale in comparison to being viewed in person when the sun is shining, glowing and glistening like the otherworldly objects they’ve become.

@qestcraft
@wearespacer

#patina #bronzesculpture #contemporanyart #archeology #surfacedesign #artobject #qest #craftsmanship #fineart #sculpture #artiststudio #artjournal #trusttheprocess #artanddesign #artofvisuals #surface #metalwork #upcomingartist

Patina magic.

The last buried bronze has finally resurfaced after 350 days spent earth bound. A thrilling day filled with a range of emotions as you’d expect from such a long time hoping and praying that all those decisions I’d made had paid off.

This vessel being the middle of the chosen burial time frames, with the shortest being 300 and the longest 400 days, has produced a very different patina. The depth and density of browns, purples and tangerines around the opening brings to mind far off galaxies in deep space, while the bottom has grown more verdigris oxides and similar alien formations as I’ve become accustomed to by this archaeological process.

Choosing to highly polish each sculpture by hand before burial raised a few eyebrows, my own included. The polishing process took as long as it did to produce the sculptures themselves, consequently instilling a deep reverence for all shiny metals I’ve come across since. Regardless of all the time spent following a pipeline dream I can safely say it was all worth it.

Trying to document these works through my camera lens has been tricky, presenting new material issues that wood cannot and I’ve had to learn new techniques to do these incredibly delicate and complex surfaces justice. Even still, the images I have managed to capture pale in comparison to being viewed in person when the sun is shining, glowing and glistening like the otherworldly objects they’ve become.

@qestcraft
@wearespacer

#patina #bronzesculpture #contemporanyart #archeology #surfacedesign #artobject #qest #craftsmanship #fineart #sculpture #artiststudio #artjournal #trusttheprocess #artanddesign #artofvisuals #surface #metalwork #upcomingartist

‘Of heart and hand’ - A series of works cast from an original hand carved sycamore vessel immortalised in bronze, polished and buried for periods of 300, 350 and 400 days.

A concept born through curiosity and a need to create, these vessels incorporate the heritage crafts of woodwork, bronze casting, and archaeology.

An exploration through material limitations and surfaces unobtainable through wood alone, delicately yet purposively manipulating natural elements into dialogue with one another.

Absolving the constraints of control and pushing against the meticulous concept of craft, relinquished back to the earth, risking destruction, the ultimate outcome unknown until the point of excavation.

Unveiled is a corporeal token of precious time spent between material, maker, and environment - these archaeological objects are by the very definition a work of heart and hand.

#ofheartofhand #contemporarysculpture #artjournal

Now on Spotify - Link in Bio - A Sculptor's Story Podcast Episode 4: Interview with Oliver Chalk from Found.Wood (@found.wood).

In this episode, Oliver talks about his journey from making textile installations in the event industry to working with wood, how he explores the surfaces of the materials he works with and how making became a way to explore himself.

We discuss uncertainty, failure, and why the process matters more than the final piece. For Oliver, craft is a philosophical inquiry into who we are and what we’re capable of.

Listen now on Spotify. The link to the podcast is in my Bio (asaya.sculpture).

A Sculptor's Story podcast seeks to have conversations with woodcarvers & sculptors of different traditions across the world, to hear the story behind the works we see on social media/websites, how they got to where they are and what motivates, moves and inspired them. Make sure to follow the podcast on Spotify to keep updated when new episodes are released.

My wish for this podcast is to make it interactive with the listeners to know who you would like as the next guest and what questions should be asked. So feel free to comment your ideas directly on Spotify or here on Instagram.
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#woodcarver #woodcarving
#woodworking
#woodworker

Now on Spotify - Link in Bio - A Sculptor's Story Podcast Episode 4: Interview with Oliver Chalk from Found.Wood (@found.wood).

In this episode, Oliver talks about his journey from making textile installations in the event industry to working with wood, how he explores the surfaces of the materials he works with and how making became a way to explore himself.

We discuss uncertainty, failure, and why the process matters more than the final piece. For Oliver, craft is a philosophical inquiry into who we are and what we’re capable of.

Listen now on Spotify. The link to the podcast is in my Bio (asaya.sculpture).

A Sculptor's Story podcast seeks to have conversations with woodcarvers & sculptors of different traditions across the world, to hear the story behind the works we see on social media/websites, how they got to where they are and what motivates, moves and inspired them. Make sure to follow the podcast on Spotify to keep updated when new episodes are released.

My wish for this podcast is to make it interactive with the listeners to know who you would like as the next guest and what questions should be asked. So feel free to comment your ideas directly on Spotify or here on Instagram.
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.
.
#woodcarver #woodcarving
#woodworking
#woodworker

2 of 8 works currently on show at @gallery57_contemporaryart

‘Ten’
Until 23rd May
Catalogue on request through the gallery.

“Ten years ago I took a flying leap and left my home and studio in quiet woodland to open an art gallery in Arundel.

Regardless of the fact that I had no business experience and was about to turn seventy, it was a ‘now or never’ decision made instantly when I found 57 Tarrant Street.

Ten years; a decade dedicated to discovery, learning, listening, observing, creating, curating and planning.
It has been an exciting voyage of discovery; hard work but very rewarding.

Ten years later, I am still excited about planning each year’s exhibition programme.

I have invited 10 artists who I feel have played key roles in establishing the gallery’s identity and helped to influence our curated exhibitions which have evolved organically over time.” - @symes.ann / gallery curation & owner.

#artandculture #galleryexhibition #artcollectors

Corrugated surface pattern on stained english elm.
Tung oil
H 46cm x W 42cm
2025
@gallery57_contemporaryart

#interiorandhome #artliving #artcollection

Corrugated surface pattern on stained english elm.
Tung oil
H 46cm x W 42cm
2025
@gallery57_contemporaryart

#interiorandhome #artliving #artcollection

Corrugated surface pattern on stained english elm.
Tung oil
H 46cm x W 42cm
2025
@gallery57_contemporaryart

#interiorandhome #artliving #artcollection

Corrugated surface pattern on stained english elm.
Tung oil
H 46cm x W 42cm
2025
@gallery57_contemporaryart

#interiorandhome #artliving #artcollection

My offering and contribution to @gallery57_contemporaryart’s 10th anniversary group show ‘TEN’ opening on the 11th April.

#artcollection #artshow #anniversary

17 forms representing 6 months of single focus.

Since October last year I’ve invested all my energy and curiosity into developing the dune series that materialised in my last collection serendipitously. Continuing to explore both conical and spherical forms with a heavily carved surface that my body will likely never forget.

I’ve become utterly fascinated with this series, each composition an intuitive process with no set guidelines - a simple exercise and search for balance between surface, material and form, focusing on the point of when the effort becomes effortless.

Having now reached a point where the first forms created are almost totally dry, the process of refining them can now begin. This collection features work that I’m incredibly excited about and the process of making it one I’m enjoying immeasurably.

#newcollection #singlefocus #artjournal

Stained ash dune vessel
Tung oil
H 19cm x W 20cm
@gallery57_contemporaryart

#homeinteriors #artobject #surfacepattern

Stained ash dune vessel
Tung oil
H 19cm x W 20cm
@gallery57_contemporaryart

#homeinteriors #artobject #surfacepattern

Stained ash dune vessel
Tung oil
H 19cm x W 20cm
@gallery57_contemporaryart

#homeinteriors #artobject #surfacepattern

Corrugated works in english elm and stained cherry.

‘Ten’
11th April - 23rd May
@gallery57_contemporaryart

#collectableart #artliving #interiorandhome

New dunes

#newwork #contemporarysculpture #inprogress

Corrugated stained elm vessel
Tung oil
H 46cm x W 42cm
2025
@gallery57_contemporaryart

#interiorandhome #artliving #artcollection

Corrugated stained elm vessel
Tung oil
H 46cm x W 42cm
2025
@gallery57_contemporaryart

#interiorandhome #artliving #artcollection