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"Reclining Hare- Rusted Iron Resin Garden Sculpture" Outdoor Sculpture - Limited Edition of 100

Christine Baxter

United Kingdom

Sculpture, Iron

Size: 25.6 W x 9.8 H x 11.8 D in

Ships in a Box

This artwork is not for sale.

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ABOUT THE ARTWORK
DETAILS AND DIMENSIONS
SHIPPING AND RETURNS

We used to have a small house in France where my husband Alex would do art holidays, and we were over there for a month when the clay I had had gone hard. But I had a bag of plaster and some chicken wire. Being fond of hares, I thought that I would make a hare. I think this pose is very iconic and j...

Year Created:

2025

Subject:
Method:

Sculpture, Iron

Rarity:

Limited Edition of 100

Size:

25.6 W x 9.8 H x 11.8 D in

Ready to Hang:

No

Mounting:

Free-Standing

Frame:

Not Framed

Authenticity:

Certificate is Included

Packaging:

Ships in a Box

Outdoor Safe:

Yes

Delivery Cost:

Shipping is included in price.

Delivery Time:

Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.

Returns:

The purchase of photography and limited edition artworks as shipped by the artist is final sale.

Handling:

Ships in a box. Artists are responsible for packaging and adhering to Saatchi Art’s packaging guidelines.

Ships From:

United Kingdom.

Customs:

Shipments from United Kingdom may experience delays due to country's regulations for exporting valuable artworks.

Need more information?

Need more information?

A sculptor’s materials are the vehicle for language and a means of communication. Be it glass, bricks, steel or clay – what is it you wish to communicate?n producing a portrait sculpture, I am not just interested in rendering a likeness of that person but also in conveying emotion through that vehicle. Minute nuances, such as the angle of the eyes, the lips and the neck, are infinite and I must feel the emotion myself whilst sculpting to have some confidence that the viewer of the final piece will experience a symbiosis of emotion. I have not found any other medium, better than clay, that allows me to experiment with human emotional responses. This is also true, although to a lesser extent, when I am sculpting animals. The reason I continue to work in plastic materials such as clay, wax and setting plaster is because of their organic qualities. The emotion I want to convey is expressed through the language of the human body. There may be slight cultural differences in the common understanding of body language, but essentially every human being on the planet that has ever lived and will ever live will understand a frown or a smile. But it is not just our facial expressions that speak volumes. Every physical stance and gesture speaks to us. We are hard-wired to interpret the movements and expressions of our fellow humans as emotional communication. This is what drives me to sculpt. I get enormous pleasure as well as fulfilment

Artist Recognition
Artist featured in a collection

Artist featured by Saatchi Art in a collection

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