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Penny Marler

As a sculptor, I have always been fascinated by the challenge of turning ideas into three dimensions, with all the tactile delights of manipulating clay, plaster, cement and stone.

I prefer modelling to carving since the flexibility of clay gives me the freedom to work quickly and express my feelings. It also allows greater detail and a great variety of surface textures. Although I do enjoy the occasional challenge and discipline of carving stone.

In my figurative work, I am trying to simplify the form to its bare essentials of lines and planes. I want an outer solidity and stillness, with an inner dynamism and strength, I want to celebrate the beautiful, seductive contours of the living flesh, and entice the viewer to touch them. With motherhood, I was overwhelmed with the extreme of emotions over short periods from boredom and entrapment, to the intense all-consuming love and happiness, which I have tried to capture in my work.

  I now find that working from a model can sometimes stifle the creativity and prefer to model myself, feeling the restraints and tensions of the pose.

 With animal studies, I try to understand what they might be feeling: the serenity of the cow chewing the cud, the frightfully superior attitude of the llama and the sad eyes of the bloodhound which express emotions outside the human range.

 I have always been fascinated by industrial architecture especially chimneys, mills and kilns of the Potteries; also the intricate shapes of sponges and corals, which have helped with my abstract pieces. But above all I want my sculptures to have a down-to-earth quality that entices one to touch then and view them from all angles.