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“Its one thing to push your fingers into soft clay but quite another to cast that finger print permanently into bronze.”

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One of the oldest artefacts in the world is a carving of an animal. 40,000 years ago at the very dawn of modern human consciousness, the Lion Man of Ulm was carved with flint tools. Its creator chose to depict a fellow creature, signalling humanity’s intimacy with the animal kingdom. Hamish Mackie is a contemporary sculptor, working in clay and casting in bronze and silver, who has remained true to this consistent thread of artistic inspiration.

Whilst newspaper headlines draw attention to the most spectacular and avant garde art, it is important to remember that what the French, during Rodin’s era in the nineteenth century called “animalier” sculpture, represented by such outstanding artists as Antoine-Louis Barye, Christophe Fratin or Rembrandt Bugatti, remains a thriving contemporary tradition. There are galleries specialised in the genre, and animalier bronzes feature at leading international art fairs such as Frieze Masters, Masterpiece and TEFAF. Above all, there are a small number of fine contemporary sculptors who are moved to create works that not only capture the outward appearance of the animals they depict, but summon and express the spirit of life within them, which also runs through us. Mackie’s work represents the top echelon of that contemporary tradition, appealing to collectors who admire his skill and share his passionate sympathy for living creatures.

It is the vital energy, divined through empathy and communicated through the tactile process of modelling and the transformative alchemy of lost-wax casting, reinforced by the subtle painterly process of patination, that marks out Mackie’s sculptures. His deep understanding, too, of the underlying anatomy and movement of his subject earned through years of close study and analysis in the field, has given him the confidence to become increasingly gestural in his work. With the musculature and murderous intent of a cheetah or tiger evoked with bold strips of clay, gouged or flattened, the marks of his fingers still there, the whole composition has a thrilling

balance of tension and softness. Whether working at the scale of a determined dung beetle, or a hare twisted round upon itself to see what comes behind, or a roe deer listening, whole body taut, its ears, like radar dishes, straining to catch a sound, or at the more than life-size of his most recent horse sculptures, He invests each creature with its own eager personality. Far from tame trophies to decorate a drawing room, Mackie’s sculptures have a thrilling dynamism and a powerful sense of impending action that comes from his expressive handling.

Travelling in pursuit of animals in their natural habitat has become part and parcel of Mackie’s practice. To Australia, Africa, the Middle East, Russia and, most recently to India. With his camera and specially adapted studio box, he travels, observing, sculpting and recording as much information about his subjects as possible. Back home in his studio in Oxfordshire, he works from these models and detailed photographs to conjure his creatures, which are then cast in bronze or silver by his long-term collaborator, Simon Allison, at Lockbund Sculpture Foundry. The two men have worked together over twenty years, perfecting the laborious process of casting to ensure that every thumb mark or fragile feather is preserved.

Winning the commission from the Berkley Group in 2013 for a monumental sculpture in Goodman’s Fields has, in addition, enabled Mackie to extend his scale dramatically, while also enabling him to tackle the archetypal subject of the horse. The six life-and-a-quarter-sized horses, based upon six different breeds which might have grazed the original Mr Goodman’s fields, bring an anarchic energy to this carefully landscaped new public square, a flash of the wild to the inner city.

There is no lack of inspiration. Observing his subjects in their native habitat, and translating their unique character and movement into tactile bronze is an impulse that Mackie has running through his blood, echoing back to our earliest ancestors.

Foreword by emma CriCHton-miller CritiC/Arts writer for the finAnCiAl times And Apollo mAgAzine

Front and BaCK CoVer Goodman’s andalusian stallionBronze, Signed Hamish Mackie, Numbered edition of 6, Dated 2014, 360cm long x 370cm high x 200cm wide.

hAmish mACkie

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A monUmentAl pUbliC Commission Goodman’s Fields Horses

CreAting the ArmAtUre

Arts CUrAtor nanCy minsHull-BeeCH explAins why hAmish mACkie wAs perfeCt for this monUmentAl pUbliC Commission

Berkeley Group and Murdoch Wickham Landscape Architects asked me to find an artist capable of creating a world-class public sculpture. With the site being historically used as a livery, Berkeley Homes at Goodman’s Fields wanted a group of horses galloping through fountains in a new public piazza... and they wanted bronze in 1.25 life size. This would be an unprecedented modern British equestrian sculpture and would require an exceptional artist.

Hamish Mackie is a wildlife sculptor working directly from the animals themselves studied intently on field trips. What I recognised in his work was a visceral and emotional connection between the animals, Hamish and the clay. He models rapidly, full size. It is this skill, his observational powers with wildlife and his ability to give life to his sculpture that make Hamish Mackie’s work exceptional. It was his ability to breathe life into his work that was recognised by the directors of Berkeley Homes on a visit to his workshops, where one executive thought there was a living animal in his office.

Hamish also understands people and business. His ability to work across the board with the architects, designers and builders involved with the project, to understand the project logistics, his flexibility and problem solving skills make him an exceptional public artist. His enthusiasm for his work and his boundless energy are a source of inspiration for everyone who worked on this project with him.

Berkeley Homes wanted to see historical London’s working horses in their free and unbridled form, the power of commerce, the strength of a nation and the nobility of the horses that were essential to London as a centre of trade. Hamish Mackie has achieved this and more.

Nancy Minshull-Beech – MB Arts Management.

“Once I have a vision of the sculpture in my head, the first step is to make the armature which supports the tonnage of clay required. I make my armatures so they articulate on the joints. This allows the work to evolve and manifest very naturally. It’s not about the technicalities of model making but creating my own interpretation of the subject.”

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moUld mAking

“Bronze sculptures don’t happen over night - it’s a journey that begins with the faithful translation of the subject modelled in clay and depends entirely on the symbiotic relationship you develop with the foundry.”

lost wAx CAsting At loCkbUnd foUndry

The Goodman’s Fields bronzes were all cast at Lockbund Foundry using the age-old lost wax casting method that Mackie uses for his wildlife sculptures. This allows an extraordinary depth of detail to be retained and translated from clay model through to a finished bronze sculpture.

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lAndsCApe ArChiteCts mUrdoCh wiCkhAm set tHe sCene

Creating a landscape to accommodate these monumental bronze horses required great sensitivity and collaboration. “This land has horses in its DNA and we wanted to highlight this.” John Murdoch of Murdoch Wickham.

Murdoch designed the central Piazza to have a vital and dynamic flow. Mackie’s horses animate the space so pedestrians can embrace the spirit of the horses moving through the public realm.

The successful delivery of Mackie’s ‘Galloping Horses’ was made possible with the collaborative work between a multi-disciplined team including the water feature specialists, Ustigate, Hamish, Elite Landscapes and Murdoch Wickham. “Much of our time was spent doing the research and development of the fountains and lighting in testing tanks to ensure that the effect of galloping horses through water was credible and as life like as possible.” John Murdoch.

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Tony Pidgley – Chairman, Berkeley Group Berkeley’s philosophy is about creating communities and places where people want to live, work and play.

Goodman’s Fields presented an excellent opportunity to create not only a new environment that celebrates the history of the site, but parks that people can use and enjoy.

Berkeley’s vision for Goodman’s Fields was a Piazza that would stay in people’s memories for years to come, and at the same time create a locality that reflects the heritage of this great site.

We held a competition and we loved Hamish’s enthusiasm. The concept of the bolting horses won the design competition from a field of 40 sculptors – a fantastic achievement. Hamish - your vision, your energy, your passion – these are the reasons why we awarded you the commission.

fACts1.5 km of armature steel (ranging from 6mm round to 50mm box section)

6.5 tonnes of clay – in six months, compared to my average of 250kg per year!

1.2 tonnes of silicon rubber (1.2 million finger fulls applied over seven months by three people)

300 meters of wax seam lines reworked

6 tonnes of bronze 4 tones of oil/gas

2.4 tonnes of ceramic shell

8 tonnes of grog plaster core

0.5 tonnes of internal stainless steel

75kg of welding rod

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A Vision of six gAlloping horses…having escaped from their livery stables, six horses stampede through the streets of London. Careering through crowds of pedestrians they are finally brought to a halt by the traffic flow on Leman Street….

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1 Goodman’s andalusian stallion 20151:18 sCaleBronze, Signed Hamish MackieNumbered edition of 50Dated 201518cm long x 18cm high x 9cm wide.

2 Goodman’s araB stallion 20151:18 sCaleBronze, Signed Hamish Mackie, Numbered edition of 50Dated 201514cm long x 16cm high x 7cm wide.

3 Goodman’s 2 Horses runninG toGetHer 20151:18 sCale Bronze, Signed Hamish Mackie,Numbered edition of 50Dated 201519cm long x 10cm high x 9cm wide.

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these sculptures have been produced from scans of the original clay full size sculptures and are exact scale models of the goodman’s fields horses.

4 Goodman’s mare 20151:18 sCale Bronze, Signed Hamish MackieNumbered edition of 50Dated 201515cm long x 14cm high x 5cm wide.

5 Goodman’s irisH CoB in water 20151:18 sCaleBronze, Signed Hamish MackieNumbered edition of 50Dated 201518cm long x 7cm high x 5cm wide.

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1 Goodman’s 2 Horses runninG toGetHer 20141:7 sCaleBronze, Signed Hamish MackieNumbered edition of 12Dated 201455cm long x 31cm high x 27cm wide.

2 Goodman’s mare 20141:7 sCaleBronze, Signed Hamish MackieNumbered edition of 12Dated 201451cm long x 37cm high x 18cm wide.

3 Goodman’s irisH CoB in water 2014 1:7 sCaleBronze, Signed Hamish MackieNumbered edition of 12Dated 201458cm long x 21cm high x 14cm wide.

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“When I finished the horses I decided to give myself the reverse challenge and created a tiny mole. It was interesting to see how I had developed and what I could achieve at this scale. It was the start of a new body of work in preparation for my 2016 solo show LIFE IN BRONZE.”

4 Goodman’s andalusian stallion 20141:7 sCaleBronze, Signed Hamish MackieNumbered edition of 12Dated 201448cm long x 46cm high x 23cm wide.

5 Goodman’s araB stallion 20141:7 sCale Bronze, Signed Hamish MackieNumbered edition of 12Dated 201440cm long x 50cm high x 23cm wide.

6 mole 2014Silver, Signed Hamish MackieNumbered edition of 6Dated 201414.5cm long x 6.5cm high x 15cm wide.

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the JoUrney begins field trips are a fundamental part of mackie’s artistic development – seeing wild animals in their natural habitat informs a deeper understanding, translated in his instinctive and gestural style. in the lead up to life in bronze mackie has seized every opportunity to travel worldwide. this epic journey began with an invitation to belgium and the opportunity to get up close and personal with wild boar.

1 wild Boar dart 2014Bronze, Signed Hamish Mackie Numbered edition of 12Dated 201461cm long x 33cm high x 22cm wide.

2 wild Boar itCH 2014Bronze, Signed Hamish Mackie Numbered edition of 12Dated 201438cm long x 24cm high x 32cm wide.

3 wild Boar Bolt 2014Bronze, Signed Hamish Mackie Numbered edition of 12Dated 2014 37cm long x 29cm high x 18cm wide.

4 wild Boar liFe size 2010Bronze, Signed Hamish Mackie Numbered edition of 12Dated 2010173cm long x 106cm high x 46cm wide. Including detachable steel plinth.

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“Wild boar prefer to spend most of the day hiding in thick conifers, making them a hard subject to photograph - but I regularly heard and had fleeting glimpses of them through the trees. On one day a family of four bolted from under a low canopy no more than a few meters in front of me. I’m not sure who was more surprised! Spending time in their habitat is a valuable learning experience, reading their ways by different spore. It required me to tune into my sixth sense. In one area which had been partly forested the tree stumps had become perfect itching posts – inspirational!”

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“You should be able to look a wildlife sculpture in the eye and see life!”

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1 otter island 2014Bronze, Signed Hamish Mackie Numbered edition of 12Dated 201456cm long x 45cm high x 40cm wide.

2 otter FisH taKe-away 2013Bronze, Signed Hamish Mackie Numbered edition of 25Dated 201323cm long x 13cm high x 12cm wide.

3 otter motHer and CuBs 2013Bronze, Signed Hamish MackieNumbered edition of 12Dated 201324cm long x 34cm high x 16cm wide.

4 little owl taKinG oFF 2013Bronze, Signed Hamish Mackie Numbered edition of 12Dated 201344cm long x 38cm high x 36cm wide.

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1 roBin 2015Bronze, Signed Hamish Mackie Numbered edition of 12Dated 201514cm long x 34cm high x 8cm wide.

2 owl rinG18crt. Gold made to size.

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3 Grouse leFt & riGHt 2013Bronze, Signed Hamish MackieNumbered edition of 12Dated 201332cm long x 78cm high x 34cm wide.

4 Grouse 2016Bronze, Signed Hamish MackieNumbered edition of 12Dated 201635cm long x 77cm high x 23cm wide.

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“Birds require a different approach. I first make an aluminium wing and usually work in plasticine because the feathers are so thin. It’s about interpreting feather pattern through texture.”

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1 woodCoCK risinG 2013 Bronze, Signed Hamish MackieNumbered edition of 12 Dated 201352cm long x 66cm high x 37cm wide.

2 enGlisH PartridGe 2011Hallmarked Silver, Signed Hamish MackieNumbered edition of 3Dated 201170cm long x 89cm high x 53cm wide.

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“I was inspired to create these after watching a Highland stag rounding up his hinds during the Autumn rut.”

1 red deer staG 2012Bronze, Signed Hamish Mackie Numbered edition of 12Dated 201242cm long x 58cm high x 23cm wide.

2 red deer Hind 2012Bronze, Signed Hamish MackieNumbered edition of 12 Dated 201235cm long x 40cm high x 20cm wide.

3 roe BuCK Head 2012Bronze, Signed Hamish MackieNumbered edition of 12Dated 201521cm long x 61cm high x 24cm wide.

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more recently mackie has started to use trail cameras to capture research shots of wildlife. this allows him to witness moments that would rarely be seen by the human eye.

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1 roe doe 2015Bronze, Signed Hamish MackieNumbered edition of 12Dated 2015106cm long x 70cm high x 37cm wide.

2 roe doe Fawn sittinG 2015Bronze, Signed Hamish MackieNumbered edition of 12Dated 201551cm long x 50cm high x 34cm wide.

3 roe BuCK Fawn standinG 2015Bronze, Signed Hamish MackieNumbered edition of 12Dated 201583cm long x 87cm high x 28cm wide.

4 roe BuCK 2015Bronze, Signed Hamish MackieNumbered edition of 12Dated 201593cm long x 106cm high x 53cm wide.

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“Having grown up on a farm, livestock are a major source of inspiration.”

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1 Cotswold ram 2015Bronze, Signed Hamish MackieNumbered edition of 12Dated 201543cm long x 55cm high x 35cm wide.

2 aBerdeen anGus Bull 2013Bronze, Signed Hamish MackieNumbered Edition of 12Dated 201350cm long x 28cm high x 19cm wide.

3 Bull BuCKinG 2012Bronze, Signed Hamish MackieNumbered Edition of 12Dated 201236cm long x 45cm high x 16cm wide.

4 Bull CHarGinG Head down 2012Bronze, Signed Hamish MackieNumbered Edition of 12Dated 201245cm long x 26cm high x 22cm wide.

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this sculpture can be separated from the steel plinth to allow for site specific installation. 1

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“I have sculpted hares, over the years, as a benchmark to see how my style is changing. With Hare Head I am exploring the compositional transition from angular base to organic form.”

1 Bull Head larGe 2011Bronze, Signed Hamish MackieNumbered edition of 12Dated 2011127cm long x 196cm high x 97cm deep.

2 Hare Head 2015 Bronze, Signed Hamish MackieNumbered edition of 12Dated 201517cm long x 62cm high x 16cm deep.

3 Hare turninG 2015Bronze, Signed Hamish MackieNumbered edition of 12Dated 201531cm long x 56cm high x 31cm deep.

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VArzUgA riVer ColA peninsUlA Invited on a fishing trip to the Varzuga River by roxtons field sports, mackie was presented with the perfect opportunity to document wild salmon and observe Arctic tern in their natural habitat. flying into murmansk, he then took a helicopter over the tundra to a camp by the Varzuga.

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1 arCtiC tern 2014Bronze, Signed Hamish MackieNumbered edition of 12Dated 201437cm long x 73cm high x 34cm wide.

2 salmon 2012Bronze & Stainless Steel, Signed Hamish MackieNumbered edition of 12Dated 201284cm long x 151cm high x 38cm wide.

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1 arCtiC tern 2014Silver, Signed Hamish MackieNumbered edition of 6Dated 201437cm long x 73cm high x 34cm wide.

2 diPPer 2016Bronze, Signed Hamish MackieNumbered edition of 25Dated 201618cm long x 12cm high x 9cm wide.

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“‘I had asked Charlie White who co-ordinates the Roxtons fishing trips to keep his eye out for Arctic terns. One of the guides, Sergei, found a frozen bird in the tundra. It was an extraordinary find. I then went to the White Sea and photographed the Arctic tern along the coast against all these beautiful wooden fishing villages – within a truly wild environment.”

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1 yaK 2014Bronze, Signed Hamish MackieNumbered edition of 12Dated 201439cm long x 31cm high x 12cm wide.

“Whilst sculpting the Goodman’s Fields horses this image of a powerful horse’s head kept coming back to me. I had to sculpt it.”

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1 Horse Head 2015Bronze, Signed Hamish MackieNumbered edition of 12Dated 201552cm long x 68cm high x 40cm wide.

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1 Horse loose Hunter 2015Bronze, Signed Hamish MackieNumbered edition of 12Dated 201551cm long x 48cm high x 17cm wide.

2 HouseHold CaValry CHarGer 2015Bronze, Signed Hamish MackieNumbered edition of 12Dated 201543cm long x 65cm high x 18cm wide.

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“I was hugely honoured to be commissioned by the Household Cavalry to make a sculpture for the officers’ mess commemorating the presentation of the new Queen’s Standard.”

middle eAst“Research for a potentially monumental commission spurred a trip to the UAE. The desert and the Bedouin have always held a fascination for me. Studying camels gave me great insight into nomadic life.”

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1 Camel liFe size 2013Bronze, Signed Hamish MackieNumbered edition of 9Dated 2013307cm long x 217cm high x 65cm wide.

2 Camel sittinG 2012Bronze, Signed Hamish MackieNumbered edition of 12Dated 201235cm long x 15cm high x 14cm wide.

3 Camel standinG 2012Bronze, Signed Hamish MackieNumbered edition of 12Dated 201233cm long x 28cm high x 14cm wide.

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AfriCA

“I would like to say a huge thank you to Lewa Wildife Conservancy and especially Ian and Jane Craig who have supported my sculpting since it started.”

Hamish Mackie’s signature style captures the raw dynamism and intense power of wild animals. His sculptures are vividly tactile, a quality that invites you to engage and connect with the animal he has brought to life. Mackie’s passion for the environment and conservation has helped support Tusk for over 20 years and we are delighted to be continuing this wonderful collaboration.

Since its inception in 1990, Tusk has built a reputation for identifying and supporting a valuable portfolio of wildlife conservation and related community and education programs across Africa. As many of Africa’s most iconic species continue to be threatened by loss of habitat and the ongoing poaching crisis, Tusk is investing in highly successful grass roots projects, which use conservation as a powerful tool to alleviate poverty, improve education and reduce conflict. Tusk is also playing a vital role working with the Charity’s Royal Patron, Prince William, the UK Government and other NGOs to bring about the end of the illegal wildlife trade that is simultaneously threatening Africa’s unique natural heritage and economic future.

Currently, there are around 4,800 black rhino and 20,000 white rhino remaining in Africa but poaching accounts for as many as three a day. Africa’s elephant population is being decimated at a rate of 30,000 per annum and there are fewer than 400,000 remaining. And Africa’s wild lion population is similarly being impacted and now stands at fewer than 20,000 individuals, making the species even rarer than the rhino!

Our sincere thanks to Hamish for once again supporting Tusk in such a generous way and we do hope you all enjoy his superb Life in Bronze collection.

Charlie Mayhew MBEChief Executive, Tusk Trust

“I have developed a travelling studio known as The Studio Box. Inside sculptures hang upside down during transit, and in the field it becomes a modelling stand enabling me to sculpt from life.”

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“Here I wanted to capture the typical eyeballing stare of a winded buffalo.”

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“I had the pleasure of meeting Ndito at Sirioki Lodge. She thought she was a horse therefore ideal to sculpt at close quarters.”

1 CaPe BuFFalo Head study 2016Bronze, Signed Hamish MackieNumbered edition of 25Dated 201623cm long x 29cm high x 19cm wide.

2 GiraFFe Head study 2016Bronze, Signed Hamish MackieNumbered edition of 12Dated 201618cm long x 42cm high x 27cm wide.

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1 BuFFalo CHarGinG 2016Bronze, Signed Hamish MackieNumbered edition of 12Dated 201657cm long x 36cm high x 19cm wide.

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1 CHeetaH on termite mound 2014Bronze, Signed Hamish MackieNumbered edition of 12Dated 201432cm long x 34cm high x 15cm wide.

2 CHeetaH CHase 2014Bronze, Signed Hamish MackieNumbered edition of 12Dated 201442cm long x 30cm high x 20cm wide.

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1 CHeetaH liFe size – launCH Pad 2012Bronze, Signed Hamish MackieNumbered edition of 12Dated 2012130cm long x 143cm high x 112cm wide.

2 CHeetaH liFe size – Foot down 2012Bronze, Signed Hamish MackieNumbered edition of 12Dated 2012185cm long x 175cm high x 60cm wide.

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1 leoPard - liFe size ClimBinG tree 2008Bronze, Signed Hamish MackieNumbered edition of 12Dated 2008127cm long x 260cm high x 110cm deep.

2 leoPard - liFe size stalKinG 2012Bronze, Signed Hamish MackieNumbered edition of 12Dated 2012193cm long x 163cm high x 75cm wide.

3 leoPard - sHadow 2014Bronze, Signed Hamish MackieNumbered edition of 25 Dated 201433cm long x 36cm high x 16cm wide.

4 leoPard - Head study 2014Bronze, Signed Hamish MackieNumbered edition of 12Dated 201443cm long x 36cm high x 25cm wide.

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“While at Lewa I looked every day for one of the 18 kudu within the 62,000 acre reserve. On the last morning I found the “Grey ghosts” and spent a wonderful few hours observing them. Note the scar on her neck as she checks for leopard.”

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1 Kudu 2016Bronze, Signed Hamish MackieNumbered edition of 12Dated 201656cm long x 69cm high x 23cm wide.

2 leoPards - tHree in a tree 2014Bronze, Signed Hamish MackieNumbered edition of 12Dated 2014104cm long x 84cm high x 25cm wide.

3 Guinea Fowl 2012eatinG, looKinG uP, walKinG, runninG & BoltBronze, Signed Hamish MackieNumbered edition of 25Dated 2012average size: 14cm long x 15cm high x 6cm wide.

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1 leoPard ClimBinG roCKs 2016Bronze, Signed Hamish MackieNumbered edition of 12Dated 201642cm long x 70cm high x 19cm wide.igh x 47cm wide

2 serVal Head 2016Bronze, Signed Hamish MackieNumbered edition of 25Dated 201615cm long x 23cm high x 15cm wide.

7cm high x 6cm wide

“This orphaned hand-reared Serval presented a perfect opportunity to sculpt. Being unprepared for this encounter, I made an armature from an old gutter bracket!”

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“This composition depicts the behavioural aspects of an elephant mother with her calves – the older one out in front clearing the way. To me, it is about protecting a new generation and shows all the aspects of motherhood: hierarchy, caring and gentle, yet strong.”

1 elePHants 2016Bronze, Signed Hamish MackieNumbered edition of 12Dated 201688cm long x 25cm high x 23cm wide.

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“Part of my research is about trying to get into the head of the animal: its attitude, disposition, and those peculiar traits that distinguish it from the pack. As subject matter, a wild animal is physically and mentally very different from one in captivity.”

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1 wHite rHino Head 2016Bronze, Signed Hamish MackieNumbered edition of 12Dated 201619cm long x 31cm high x 33cm wide.

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1 BlaCK rHino CHarGinG 2016Bronze, Signed Hamish MackieNumbered edition of 12Dated 201642cm long x 23cm high x 15cm wide.

2 wartHoG 2016Bronze, Signed Hamish MackieNumbered edition of 12Dated 201647cm long x 28cm high x 18cm wide.

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1 tuna 2010Stainless Steel (Zeron 100)Signed Hamish MackieNumbered edition of 12Dated 2010103cm long x 61cm high x 47cm wide.

2 dunG Beetles 2015Bronze, Signed Hamish MackieNumbered edition of 12Dated 201512cm long x 7cm high x 6cm wide.

3 dunG Beetles 2015Silver, Signed Hamish MackieNumbered edition of 12Dated 201512cm long x 7cm high x 6cm wide.

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“Australia is somewhere I have long wanted to revisit, the animals that thrive in its vast, remote and arid environment are thrilling to study. It was wonderful to finally have the opportunity in 2015 to return to the outback on a sculpting mission.”

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1 KanGaroo 2015Bronze, Signed Hamish MackieNumbered edition of 12Dated 201566cm long x 45cm high x 17cm wide.

2 Koala 2015Bronze, Signed Hamish MackieNumbered edition of 12Dated 201515cm long x 46cm high x 12cm wide.

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1 merino ram 2015Bronze, Signed Hamish MackieNumbered edition of 25Dated 201527cm long x 22cm high x 15cm wide.

2 merino ram 2015Silver, Signed Hamish MackieNumbered edition of 6Dated 201527cm long x 22cm high x 15cm wide.

3 merino ram Head 2015Bronze, Signed Hamish MackieNumbered edition of 12Dated 201530cm long x 30cm high x 35cm wide.

“Prized for its wool, in 1788, 28 merino sheep formed the farming backbone of Australia. By 1830 there were over 2 million sheep. Thank you to the North Ashrose Stud for getting me close to those incredibly sculptural horns.”

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“It is refreshing to sculpt from a living model in the studio. I can decide both what stance they should take and rotate to any angle to sculpt from - it is more immediate than piecing together research collected in the field. Few people realise how physically challenging it is for a model to hold a static pose all day.”

1 Female Poised 2015Bronze, Signed Hamish MackieNumbered edition of 12Dated 201527cm long x 72cm high x 21cm wide.

2 Female stretCHinG 2015Bronze, Signed Hamish MackieNumbered edition of 12Dated 201523cm long x 81cm high x 16cm wide.

3 Female torso 2015Bronze, Signed Hamish MackieNumbered edition of 12Dated 201614cm long x 56cm high x 20cm wide.

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1 Vessel amPHora 2015Bronze, Signed Hamish MackieNumbered edition of 12Dated 201524cm long x 128cm high x 24cm wide.

2 Vessel inFleCtion Point 2015Bronze, Signed Hamish MackieNumbered edition of 12Dated 201554cm long x 42cm high x 54cm wide.

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the sCUlptor As photogrAphersculpting ‘en plein air’ is only one aspect of mackie’s intensive field research. It goes hand in hand with his wildlife photography, enabling him to bring every detail of his observed subject back to the studio. mackie has accumulated such a rich seam of insightful images that it now represents a body of work in its own right.

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1 tiGer in tree 2016Bronze, Signed Hamish MackieNumbered edition of 12Dated 201646cm long x 50cm high x 19cm wide.

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1 tiGer Head 2016Bronze, Signed Hamish MackieNumbered edition of 12Dated 201627cm long x 49cm high x 28cm wide.

2 tiGer walKinG 2016 Bronze, Signed Hamish MackieNumbered edition of 12Dated 201663cm long x 35cm high x 20cm wide.

3 tiGer drinKinG 2016Bronze, Signed Hamish MackieNumbered edition of 12Dated 201663cm long x 35cm high x 20cm wide.

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it is the summer of 1985, london. two new zealanders meet for a pint, simon Allison sculptor and david reid metallurgist. within a week simon, who attended david’s bronze casting course at the royal Academy school was holding a bronze of one of his intricate sculptures. simon was smitten by the transformation of his work into a material that matched the ancient egyptians and Chinese.

so that was the beginning, a bronze casting foundry was born in brixton, and simon buried himself in developing the skills and knowledge that were needed for such an enterprise. As exciting as this process was, and it was exciting, it is interesting that history is this great sprawling thing that we sit on the head of but how, in fact, it is a great sprawling thing that fans out in front of us as we start to explore its depth. so many people and civilizations have been there before us and yet we have it all to learn over again, discovering the wealth of the past.

“You sculpt whatever you want and we will work out a way to cast it.” Simon Allison

tHe Foundry

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from a process point of view very little has changed in the thousands of years that bronze has been in use. during a trip to kathmandu, nepal in the mid-80s simon spent some time with bronze artisans in the streets of patan only to discover that their techniques were exactly the same as his own. the only material difference being, where he was using modern ceramic shell investment, they were still working with a thousand year old recipe of rice husk, cow dung and clay. their casting results were brilliant - simon borrowed one or two of their little tricks of the trade that he still uses today.

simon will tell you today that he runs a top shelf bronze foundry, lockbund sculpture, in north oxfordshire with a team of super experienced technicians producing a very high quality of product. but who for? indeed who for? well in this case, hamish Mackie. One of England’s most prolific and finest animal sculptors and here is the nub of it… without the client the foundry has nothing. so the key at the heart of the foundry is the ‘relationship’.

the artist, hamish mackie, is the originator, the creator, the skilled passionate soul who translates the clay from the earth into fluid, gestural, elegant and visceral images of god’s creatures great and small. he is the one who traverses the plains of Africa and the heather of scotland to seek out, in person, the close up understanding and details of this vibrant world around us. he is the one who presents these images to thrill and inspire us. so, no pressure on

the foundry… when the artists invests so much of himself into the work, it is imperative that the foundry understands this and appreciates the finer nuances of his mark making. simon and his team at lockbund have been working with hamish for nearly 25 years, this has been and remains an exciting and challenging relationship based on mutual understanding and respect.

the overriding ingredient required from the foundry is care. Care at every stage of a long, complex and skilled process, care at appreciating the artist’s presence in every detail of the work.

“I love the fact that a fingerprint left in my original clay sculpture comes through to the finished bronze. I take full advantage of Lockbund Foundry’s skills.”

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Commissions Chronology

merrill lynch, london

hiscox, london

Andrew winch design

Countryside Alliance

lewa downs, kenya

Chippenham park, Cambridgeshire

knowsley park, derbyshire

tregothnan estates, Cornwall

trewithen estates, Cornwall

Cadogan estates

westminster estates

Clear water, Canada

radley College

the national trust

barclays private bank

woburn Abbey

floors Castle

Chapman University, California

gilbane development Company,

rhode island

bahamas development Company,

bahamas

Alibaba group, hong kong

the lucas Collection, los Angeles

sogo, hong kong

burgess

berkeley groupw

british racing school

triton

the household Cavalry

Vanke co. ltd, China

inmarsat

scott and twine

• 2016 Life in Bronze, Solo Show, Mall Galleries, London

• 2016 British Polo Day

• 2016 Blenheim Palace

• 2016 Chatsworth

• 2013 - 2015 First major Public art commission

goodman’s fields for berkeley group

• 2013 Game and Wildlife Conservation Trust, Highgrove

• 2012 Grosvenor Square & Oxford Street Olympic installations

• 2012 Solo show in New York - Mallet

• 2010 International Fine Art Fair Palm Beach - Mallet

• 2009 - present Royal Horticultural Society Chelsea Flower Show

• 2008 - present Represented by Collier and Dobson

• 2007 -2013 Triennial solo shows at The Gallery in Cork Street

• 2006 Fine Art Commission

• 2005 Knight Frank

• 2004 Rathbones Edinburgh

• 2002 Soane London

• 2001 Art London

• 2000 Hiscox Insurance

• 1999 Cotswold Wildlife Park in Aid of Tusk Trust

• 1998 – 2009 Brewin Dolphin, CLA Game Fair

• 1997 Royal Academy Summer Exhibition

• 1996 1st London Solo Show

• 1996 Won Diana Brookes Art for Youth prize

• 1994 Merrill Lynch commission Bull Head

• 1992-94 Kingston University

• 1991 Falmouth Art School

• 1986-91 Radley College

• 1973 - Born, grew up on a Cornish livestock farm

thank you to my wife laura and niko kos earl for their enthusiasm and help.

designed and produced by windrush group. www.windrushgroup.co.uk

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“I continue to sculpt what inspires and often work on bespoke commissions - large and small. Please don’t hesitate to contact me if you’d like to discuss the possibility of a commission. I’m always up for a challenge!”

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“what rodin did with the human body, mackie applies to animal forms. rodin, perhaps influenced by Impressionist painting, was fascinated by the way that light flickers over forms – especially over forms that are actually or potentially in motion. mackie, dealing with subjects where capturing motion is the very essence of what the artist has to do, shows himself adept at achieving this – his animals always seem

to be on the move, or ready, at any moment, to move.” edward lucie-smith – art Critic.

sCUlptUreManor Farm Barn, Station Road, Hook Norton, Oxfordshire, OX15 5LT, UK

t: UK +44 (0)1608 737859 • m: UK +44(0)7971028098hamish@hamishmackie.com

www.hamishmackie.com