view additional image 1
Over the years I have made many sculptures that incorporate classical drapery. I used to carefully study the play of different materials and meticulously recreate every aspect of the weight, tension and hang of the material in my sculpture. I used to agonise over how to sculpt the edge of a drape where a foot protruded from beneath, trying to balance realism with the aesthetic of the piece. 

Thankfully, I am no longer troubled with the same anxieties. The Emergent Collection, beautifully demonstrates what I like to think of as a more mature and enlightened approach to such problems. In this collection I introduce a flat plain to balance and divide the fully sculpted figure and disregard the formal studied limitations of the drapery.  The drapery becomes the plain, which is both a solid form in its own right and yet is also at one with the figure, revealing and yet concealing the contours of the human form beneath. 

Where a foot protrudes from the plain (as with Seraphina and Solstice) the foot simply emerges, as if emerging from a pool of still water. With this technique I can focus on the beauty in the gesture or movement, without being hampered by physical reality.  - because it makes no sense, it makes perfect sense.


The key to the Emergent Collection is to know that the figures are first fully sculpted in the round to an advanced and complete stage. I fix the pose, gesture and anatomy in the knowledge that half the features will be lost with the addition of the flat plains.  By adding, I take away, in doing so I’m saying “this aspect is important and this aspect can fade”.   As so often in art, less is more.      


Ophelia, is my original emergent sculpture, she floats, rising above the concerns of her life, transported in a steam of dappled light and mist .The inspiration for these effects is taken  from light reflecting off  moving water onto adjacent surfaces, originally in the enigmatic water ways of Venice. This inspiration has led to an intense and ongoing study of patina effects giving the sculpture a liberating painterly aspect.

Seraphina, deals with balance, both physical and metaphorical. This beautiful woman is simultaneously earthed and breathlessly, precariously, finding her moment in space. She is moving forward, in her concentration, all artifice is lost… she is simply beautiful.  

Solstice, is an attempt to capture the suspension and theatre of dance. Movement and gestures, not of ordinary life, but shape and balance, creating a visual drama. The delight to be lost in dance, and for Solstice, uplifting, turning and drawn to the sun.
Over the years I have made many sculptures that incorporate classical drapery. I used to carefully study the play of different materials and meticulously recreate every aspect of the weight, tension and hang of the material in my sculpture. I used to agonise over how to sculpt the edge of a drape where a foot protruded from beneath, trying to balance realism with the aesthetic of the piece. 

Thankfully, I am no longer troubled with the same anxieties. The Emergent Collection, beautifully demonstrates what I like to think of as a more mature and enlightened approach to such problems. In this collection I introduce a flat plain to balance and divide the fully sculpted figure and disregard the formal studied limitations of the drapery.  The drapery becomes the plain, which is both a solid form in its own right and yet is also at one with the figure, revealing and yet concealing the contours of the human form beneath. 

Where a foot protrudes from the plain (as with Seraphina and Solstice) the foot simply emerges, as if emerging from a pool of still water. With this technique I can focus on the beauty in the gesture or movement, without being hampered by physical reality.  - because it makes no sense, it makes perfect sense.


The key to the Emergent Collection is to know that the figures are first fully sculpted in the round to an advanced and complete stage. I fix the pose, gesture and anatomy in the knowledge that half the features will be lost with the addition of the flat plains.  By adding, I take away, in doing so I’m saying “this aspect is important and this aspect can fade”.   As so often in art, less is more.      


Ophelia, is my original emergent sculpture, she floats, rising above the concerns of her life, transported in a steam of dappled light and mist .The inspiration for these effects is taken  from light reflecting off  moving water onto adjacent surfaces, originally in the enigmatic water ways of Venice. This inspiration has led to an intense and ongoing study of patina effects giving the sculpture a liberating painterly aspect.

Seraphina, deals with balance, both physical and metaphorical. This beautiful woman is simultaneously earthed and breathlessly, precariously, finding her moment in space. She is moving forward, in her concentration, all artifice is lost… she is simply beautiful.  

Solstice, is an attempt to capture the suspension and theatre of dance. Movement and gestures, not of ordinary life, but shape and balance, creating a visual drama. The delight to be lost in dance, and for Solstice, uplifting, turning and drawn to the sun.
Over the years I have made many sculptures that incorporate classical drapery. I used to carefully study the play of different materials and meticulously recreate every aspect of the weight, tension and hang of the material in my sculpture. I used to agonise over how to sculpt the edge of a drape where a foot protruded from beneath, trying to balance realism with the aesthetic of the piece. 

Thankfully, I am no longer troubled with the same anxieties. The Emergent Collection, beautifully demonstrates what I like to think of as a more mature and enlightened approach to such problems. In this collection I introduce a flat plain to balance and divide the fully sculpted figure and disregard the formal studied limitations of the drapery.  The drapery becomes the plain, which is both a solid form in its own right and yet is also at one with the figure, revealing and yet concealing the contours of the human form beneath. 

Where a foot protrudes from the plain (as with Seraphina and Solstice) the foot simply emerges, as if emerging from a pool of still water. With this technique I can focus on the beauty in the gesture or movement, without being hampered by physical reality.  - because it makes no sense, it makes perfect sense.


The key to the Emergent Collection is to know that the figures are first fully sculpted in the round to an advanced and complete stage. I fix the pose, gesture and anatomy in the knowledge that half the features will be lost with the addition of the flat plains.  By adding, I take away, in doing so I’m saying “this aspect is important and this aspect can fade”.   As so often in art, less is more.      


Ophelia, is my original emergent sculpture, she floats, rising above the concerns of her life, transported in a steam of dappled light and mist .The inspiration for these effects is taken  from light reflecting off  moving water onto adjacent surfaces, originally in the enigmatic water ways of Venice. This inspiration has led to an intense and ongoing study of patina effects giving the sculpture a liberating painterly aspect.

Seraphina, deals with balance, both physical and metaphorical. This beautiful woman is simultaneously earthed and breathlessly, precariously, finding her moment in space. She is moving forward, in her concentration, all artifice is lost… she is simply beautiful.  

Solstice, is an attempt to capture the suspension and theatre of dance. Movement and gestures, not of ordinary life, but shape and balance, creating a visual drama. The delight to be lost in dance, and for Solstice, uplifting, turning and drawn to the sun.
Over the years I have made many sculptures that incorporate classical drapery. I used to carefully study the play of different materials and meticulously recreate every aspect of the weight, tension and hang of the material in my sculpture. I used to agonise over how to sculpt the edge of a drape where a foot protruded from beneath, trying to balance realism with the aesthetic of the piece. 

Thankfully, I am no longer troubled with the same anxieties. The Emergent Collection, beautifully demonstrates what I like to think of as a more mature and enlightened approach to such problems. In this collection I introduce a flat plain to balance and divide the fully sculpted figure and disregard the formal studied limitations of the drapery.  The drapery becomes the plain, which is both a solid form in its own right and yet is also at one with the figure, revealing and yet concealing the contours of the human form beneath. 

Where a foot protrudes from the plain (as with Seraphina and Solstice) the foot simply emerges, as if emerging from a pool of still water. With this technique I can focus on the beauty in the gesture or movement, without being hampered by physical reality.  - because it makes no sense, it makes perfect sense.


The key to the Emergent Collection is to know that the figures are first fully sculpted in the round to an advanced and complete stage. I fix the pose, gesture and anatomy in the knowledge that half the features will be lost with the addition of the flat plains.  By adding, I take away, in doing so I’m saying “this aspect is important and this aspect can fade”.   As so often in art, less is more.      


Ophelia, is my original emergent sculpture, she floats, rising above the concerns of her life, transported in a steam of dappled light and mist .The inspiration for these effects is taken  from light reflecting off  moving water onto adjacent surfaces, originally in the enigmatic water ways of Venice. This inspiration has led to an intense and ongoing study of patina effects giving the sculpture a liberating painterly aspect.

Seraphina, deals with balance, both physical and metaphorical. This beautiful woman is simultaneously earthed and breathlessly, precariously, finding her moment in space. She is moving forward, in her concentration, all artifice is lost… she is simply beautiful.  

Solstice, is an attempt to capture the suspension and theatre of dance. Movement and gestures, not of ordinary life, but shape and balance, creating a visual drama. The delight to be lost in dance, and for Solstice, uplifting, turning and drawn to the sun.
Over the years I have made many sculptures that incorporate classical drapery. I used to carefully study the play of different materials and meticulously recreate every aspect of the weight, tension and hang of the material in my sculpture. I used to agonise over how to sculpt the edge of a drape where a foot protruded from beneath, trying to balance realism with the aesthetic of the piece. 

Thankfully, I am no longer troubled with the same anxieties. The Emergent Collection, beautifully demonstrates what I like to think of as a more mature and enlightened approach to such problems. In this collection I introduce a flat plain to balance and divide the fully sculpted figure and disregard the formal studied limitations of the drapery.  The drapery becomes the plain, which is both a solid form in its own right and yet is also at one with the figure, revealing and yet concealing the contours of the human form beneath. 

Where a foot protrudes from the plain (as with Seraphina and Solstice) the foot simply emerges, as if emerging from a pool of still water. With this technique I can focus on the beauty in the gesture or movement, without being hampered by physical reality.  - because it makes no sense, it makes perfect sense.


The key to the Emergent Collection is to know that the figures are first fully sculpted in the round to an advanced and complete stage. I fix the pose, gesture and anatomy in the knowledge that half the features will be lost with the addition of the flat plains.  By adding, I take away, in doing so I’m saying “this aspect is important and this aspect can fade”.   As so often in art, less is more.      


Ophelia, is my original emergent sculpture, she floats, rising above the concerns of her life, transported in a steam of dappled light and mist .The inspiration for these effects is taken  from light reflecting off  moving water onto adjacent surfaces, originally in the enigmatic water ways of Venice. This inspiration has led to an intense and ongoing study of patina effects giving the sculpture a liberating painterly aspect.

Seraphina, deals with balance, both physical and metaphorical. This beautiful woman is simultaneously earthed and breathlessly, precariously, finding her moment in space. She is moving forward, in her concentration, all artifice is lost… she is simply beautiful.  

Solstice, is an attempt to capture the suspension and theatre of dance. Movement and gestures, not of ordinary life, but shape and balance, creating a visual drama. The delight to be lost in dance, and for Solstice, uplifting, turning and drawn to the sun.

2862 Views

71

View In My Room

Solstice Sculpture - Limited Edition of 20

Michael James Talbot

United Kingdom

Sculpture, Bronze on Bronze

Size: 15 W x 36.2 H x 5.9 D in

Ships in a Crate

$27,770

Shipping included

Trustpilot Score

2862 Views

71

Artist Recognition
link - Featured in the Catalog

Featured in the Catalog

link - Featured in Inside The Studio

Featured in Inside The Studio

link - Artist featured in a collection

Artist featured in a collection

ABOUT THE ARTWORK
DETAILS AND DIMENSIONS
SHIPPING AND RETURNS

Over the years I have made many sculptures that incorporate classical drapery. I used to carefully study the play of different materials and meticulously recreate every aspect of the weight, tension and hang of the material in my sculpture. I used to agonise over how to sculpt the edge of a drape wh...

Year Created:

2014

Subject:
Medium:

Sculpture, Bronze on Bronze

Rarity:

Limited Edition of 20

Size:

15 W x 36.2 H x 5.9 D in

Ready to Hang:

Not Applicable

Frame:

Not Framed

Authenticity:

Certificate is Included

Packaging:

Ships in a Crate

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 wooden crate for additional protection of heavy or oversized artworks. 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?

Michael James Talbot is one of the leading figurative sculptors of our time, creating beautiful, evocative works of art that captivate and inspire. He says "The human form gives me an endless source of inspiration. The subtlest of movements and expressions can be captured in the sculpture to portray a myriad of emotions and convey tension, drama, fluidity and grace. No other subject has this richness of emotional and spiritual content or the capacity to convey such a broad and interesting narrative.

Artist Recognition
Featured in the Catalog

Featured in Saatchi Art's printed catalog, sent to thousands of art collectors

Featured in Inside The Studio

Featured in Saatchi Art's curated series, Inside The Studio

Artist featured in a collection

Artist featured by Saatchi Art in a collection

Thousands of 5-Star Reviews

We deliver world-class customer service to all of our art buyers.

Satisfaction Guaranteed

Our 14-day satisfaction guarantee allows you to buy with confidence.

Global Selection of Emerging Art

Explore an unparalleled artwork selection by artists from around the world.

Support An Artist With Every Purchase

We pay our artists more on every sale than other galleries.