Richard Fox started to focus on his form of sculpture in 2005. After visiting Barbara Hepworth's studio and seeing her wood sculptures, he spent innumerable hours on creating his unique method of sculpting wood to achieve the forms that he wanted. Working to drawings and sketches, he brings the flow of his pencil line to life, where the form of the sculpture and the voids between work come together to produce the finished piece.
In the White Ravel Series, Fox shows his unique skills, creating sculpture with sycamore and white earth pigment, each one twisted and turned, sanded and varnished to withstand temperature variation and moisture changes. Using techniques derived from the skills of boat-builders, Fox crafts sycamore into intricate and rhythmical forms inspired by musical score, in this case Ravel. Each individual section is bonded in place making the seemingly delicate structure remarkably resilient. The works are then fixed to a sandstone base using a stainless steel pin and shaft which allows them to be rotated for different angles of viewing.
Richard has sold his work through various galleries, London Art Shows, London-based art consultants and private commissions, though Jenna Burlingham Fine Art is now his principle gallery.
"The sculptures take time to make. I visualise a space, a void and sketch a shape to fill it. This is to describe the process in its simplest way. In the act of sketching, I am trying to achieve a form that works as a whole. The combinations of material and shape in both the sculpture and space within the curves. The making of the sculpture from this point becomes very exacting and involves concentration. Working out the exact angles, the twists and curves, there is very little room for error. From this point the very act of sculpting the wood begins, using a variety of tools and skills that have been developed over the years. The sanding of the sculpture is the next part of the process. At this point, the sculpture will be left with the natural colour of the wood or I will stain it to achieve a dark sculpture or use an earth pigment paint to colour one of the surfaces. The sculpture then goes through a process to keep it stable and able to cope with the temperatures and moisture changes within modern buildings. The method I use is used in the yachting industry. Three layers of a two part epoxy resin are first applied, this is then sanded back and then two layers of a two-part satin finish, scratch resistant, UV protector varnish are applied. I make the base from a sandstone, the stainless steel pin and shaft allow the sculpture to be rotated for ease of different views. There are a lot of processes in making the sculpture and all of them have taken time to evolve.
I think some of the most satisfying times for me include the point at which I am by myself in the studio, I have just finished the sculpture and I place it on the plinth. there is a sense of having been on a long journey and the journey is now complete. I am looking at something that did not exist a before today. It is as though looking at something for the first time and all that that involves."