Teresa Martin....SSS Membership #93! That might give you a clue as to how long Teresa has been a stalwart member of the Surrey Sculpture Society but nothing at all about the many and varied things that Teresa has set her artistic hands to over the years....Life size tigers for London Zoo, anyone? We asked Teresa to tell us more about her Life as a Sculptor
How long have you been a Sculptor?
I have been a “sculptor” since about 1979, though I started making long before I knew what sculpture was. When I got to Art College it was a relief to find a tutor who recognised that I thought in 3D much better than I spoke or wrote. Being a ‘sculptor’ gave this attribute an official title, and me a purpose. Those 6 year old “itchy fingers” which I used to hold up to my mum, desperately needing materials to work with, now had a mission. Although I couldn’t explain what this feeling was as a child, now, the need to sculpt, is part of my communication system; often the thing that gets me out of bed in the morning, “What’s happened to that finish after all that rain?,” “Has that clay form collapsed/ been sat on/dissolved enough over night?”
What materials do you use?
I did most of my sculpture at Uni in wood: working from willow branches dragged out of the streams around Winchester School of Art. I made a change in material when the carving was causing too much arthritic pain in my hands. It was a bit sad anyway, when the wooden sculptures lost the wonderful natural resin smells over time, and I missed the busy-ness of the creepy crawlies living therein. The wood was hammered so much, they had made a rapid retreat. I like the way Nature takes over the crevices of the cast forms I have made in latter years. The metal and stone resins still grow lichen, if allowed, and protect many inhabiting species.
Who or what inspired you?
I was probably the weirdest Art student! On arrival at Uni I was already 'engaged to be married' to my more muscley, (long suffering) other half. I kept rescued chipmunks in my hostel room and they were the first visitors and critics of any forms I made. I loved the way they explored, their jerky curiosity, hesitant moves, and then riotous swinging and patterned circuits. They inspired my compositions for many years.
I discovered Richard Deacon’s process sculpture and felt a kindred spirit. It was so exciting to let forms develop through repeated actions, or to build wooden segmented forms that developed before your eyes in space. Lego manufacturers eat your heart out!
What was your Career Path after uni?
By the end of my degree course, the move I had considered to the Slade was halted by a pregnancy so I went more locally for a PGCE and my son Tom, attended all my lectures in-utero. Abby was in the same place when I began my Art teaching career. Tom’s chemistry skills prove useful, these days, (and his gin, from Slake Spirits), and Abby, well of course, she shares my sculptural language, as well as my workshop these days.
One of my most memorable pieces of feedback from my Uni tutors was “You’ll never be famous; you’re not selfish enough”. I get that. But what would life be like if nobody ever volunteered to share the joy?
Much as I have empathy for Barbara Hepworth’s work and inspirations, handing over my kids, as she did, to enable me to concentrate wholly on my career was never an option. I don’t like to relinquish control or make things easy for myself in general!
Tell us about some of your more interesting commissions.
When a local commission came up where I could use my favourite negative casting process, it was great to step up and do this on a larger scale for the slipway feature by the River Adur and Ropetackle Arts Centre in 2005. The work has survived well in the sunshine by the coast. The iron resin form foxed some architects on inspection, casting a form with a textured interior being especially complex. The quote to have it cast in bronze was over well £40,000, even then, so they got a 7ft bargain !! (7ft was the height of my garage ceiling at the time.)