“The naked figure, whether in the studio or on the beach, has always fascinated me. It is a subject that everyone can relate and respond to in their own way, often without conceptualizing or intellectualizing. That is the way I prefer to do it. There is a deeper response to the illusive and resonating qualities of the body in art.”

Thinking there is more than what passes as sculpture, Ian set out to develop his own interpretations.  Thus, a recent installation at the Abbey House Gardens in ancient Malmesbury, Wiltshire, England.

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“The choice of the male figure / nude as a dominant motif was made quite early when I realized that the female nude had, to a large extent, been robbed of its power by the commercial world of advertising, whereas the the male nude still retained a power that could excite, grab attention and shock. The reaction of the spectator to the male figure was stronger, whether out of competition, fear or embarrassment. It proved to be a potent image. For me, the sculptor, this fact reinforced the work with a greater resonance and meaning.”

“The manipulation of material to create an image is the essence of the sculptor’s craft. My ‘feel’ of the material, whether it be clay, wax, plaster or bronze informs the outward appearance of the sculpture. The tactile and plastic qualities are an important element in the way the sculpture is constructed. In the right light clay has the qualities of flesh and can be made to imitate the tautness of the athlete’s thigh or the loose folds of flesh of an aged torso. It is the verisimilitude of the material that gives life to the surface of the work.”

“The act of drawing has also made a great contribution to my work. Here the initial investigation of an idea or one particular model plays its part. Long before any clay is applied to the armature, my eye will travel across the form and my hand records the nervous reaction to the stimuli. The drawing and re-drawing of the image from every angle begins, in my mind, to build an understanding of the three dimensional.”

“The act of drawing has also made a great contribution to my work. Here the initial investigation of an idea or one particular model plays its part. Long before any clay is applied to the armature, my eye will travel across the form and my hand records the nervous reaction to the stimuli. The drawing and re-drawing of the image from every angle begins, in my mind, to build an understanding of the three dimensional.”

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To see more of Ian Rank-Broadley’s work, visit:

http://www.ianrank-broadley.co.uk/

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