Sculpting, a whole process


The Pylon Bird at Broad Oak Nature Reserve. The making process for the sculpture.

There were many processes involved to get to the sculpture to a finished stage. Paul Goodrick, the Artist in Residence, describes the whole process of making a sculpture. Click on the images to view pictures in full size (this may take a few minutes):
The inspiration
The electricity pylon is the most visible element of the substation's presence and activities. These giant metal structures, based on the repetition of triangles (technically called "Trag" system structures), speak the language of industry and the urban environment. However, they have similar, almost random-looking shapes to natural elements of the reserve, like reeds and grass. They can also look like giant birds. This link formed the inspiration for the sculpture.
Sketches
Examples of sketches which developed ideas to bring nature and electricity together.
Maquette
A "maquette" (a model for a sculpture) was then made at the artist's studio. This was made of thin strips of wood, slotted and screwed together. It was about 2.5 metres high and was made to test and develop ideas. Also it was an opportunity to see if building methods would perform well. At this stage, detailed discussions took place with the Head of the Centre and others who had an interest in the project. Possible sponsors were approached and three agreed to support the project.
Location
Location was important and a site was agreed where the sculpture could be sited. This provided viewing points from many angles for the 7000 children who would visit the site each year and for passers by on the adjacent road. A security fence separated the site from the road.
Building - stage 1
The site was prepared by digging footings. The materials were assembled at this stage - planed timber, galvanised screws, waterproof wood glue and artists acrylic paint.
Building - stage 2
The base framework of treated wood is put in place. The artist has also found an opportunity to experiment with clay dug out of the foundations for the Pylon Bird to make small models of electrical insulators.
Building - stage 3
The building is started using a system of "drawing into space" with the materials, building upwards and ensuring each triangle is soundly supported. Although this method seem random, it produces a very firm structure. There is no power supply, so a cordless drill is used.
Building - stage 4
Each piece of wood is cut to length, drilled, glued and screwed to another piece.
Building - stage 5
As work progresses the final overall shape has to be borne in mind, allowing for the "bird" to have form, a twisting look from head to tail, as though it was going to do something. Each night tools have to be carried back to the Centre, half a mile away and materials have to be covered with a tarpaulin. The bird is 4 metres high and much of the work has to be done from a step ladder.
Finished sculpture
The finished bird, looking from the road to the Reserve site. Different view points enable different questions to be raised by the sculpture. It has "open form" enabling it to serve a different purpose to a solid sculpture. The viewer can look into it, through it and round it. Its construction as well as its significance is therefore considered.
Different background
A view from the site through the sculpture out to the urban environment raises a different set of issues.
Different view
Looking up into the structure. The close resemblance with the pylon and natural forms, seen in the reed beds can be observed.
Press articles
The sculpture has attracted a lot of attention and a press release was prepared by the artist, resulting in articles in local newspapers and national magazines. Finally, letters of thanks were sent to the sponsors, Robert Brett and Sons Limited, Pfizer Ltd and SEEBOARD plc.
Another twist in the story of the Pylon Bird is that one year after it was made, the sculpture was vandalised and a new artwork was made from its pieces. The Red Cone now stands in the same place, visible from the main road.