SARA INGLEBY-MACKENZIE

SARA INGLEBY-MACKENZIE

SARA: The daughter of a fashion designer I grew up in Milan in a home surrounded by colour, design and bustle. I loved feeling the textures of the fabrics and playing with the buttons and threads used to embellish the clothes. Often imagining the type of people who would wear such clothes.

Art college was spent in the life room and library discovering as much as I could about sculpture and painting, I formed a particular bond with Egyptian sculpture for its purity of line and use of colour. On leaving college I felt I had acquired the tools of the trade but needed to develop my own language.

Experimenting with styles and mediums, gradually the experiences in Italy started to influence my work. The figures became clothed and small details such as buttons and textures appeared on the sculptures to draw the viewer into the pieces.

The figures always start out as vague notions, possibly a standing or walking figure. As the clay goes on the characters develop and I get caught in a dialogue with the piece, who are they, where are they etc. When a piece is finished I always leave the viewer to establish there own dialogue and am often surprised and delighted by the direction these encounters take. They develop their own narrative.
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SARA INGLEBY-MACKENZIE

SARA: The daughter of a fashion designer I grew up in Milan in a home surrounded by colour, design and bustle. I loved feeling the textures of the fabrics and playing with the buttons and threads used to embellish the clothes. Often imagining the type of people who would wear such clothes.

Art college was spent in the life room and library discovering as much as I could about sculpture and painting, I formed a particular bond with Egyptian sculpture for its purity of line and use of colour. On leaving college I felt I had acquired the tools of the trade but needed to develop my own language.

Experimenting with styles and mediums, gradually the experiences in Italy started to influence my work. The figures became clothed and small details such as buttons and textures appeared on the sculptures to draw the viewer into the pieces.

The figures always start out as vague notions, possibly a standing or walking figure. As the clay goes on the characters develop and I get caught in a dialogue with the piece, who are they, where are they etc. When a piece is finished I always leave the viewer to establish there own dialogue and am often surprised and delighted by the direction these encounters take. They develop their own narrative.
Ref:
Date:
Location:
Photographer: