My approach to teaching is rigorous, energetic, but fun. Teaching consists of creating the possibility for individuals to discover things for themselves, through the introduction of core disciplines and supporting technique. Individuals are encouraged to be self-critical and to trust in their own responses, airing and discussing these within an atmosphere where everybody can contribute as well as learn. I encourage flexible evening sessions, largely participant-led with tutor’s projected digital image library and allow debate which supports and bolsters the studio activities.What will students gain if they come on one of your courses?
A better understanding of sculptural form and mass and a better appreciation of using the eyes; hopefully some contribution towards seeking warmth and sensitivity in your developing sculpture. And a network of like-minded people to give peer-support after the course finishes. Whilst figurative work is becoming fashionable again within painting and drawing, figurative sculptural training all but disappeared from formal art school curricula and much sculpture still relies on the conceptual (you need to “get it”) rather than the visual (where it needs to move you). One course also looks at the unforeseen - using clay without armatures to allow the work to develop with out pre-conceiving, letting the subconscious to emerge.Are there any particular techniques/processes you use in your teaching?
Rigorous observation, honest and sensitive handling of materials. Trust in being able to dispense with “what is required” and developing the confidence to let something special emerge.What inspires your own work?
People; the natural and physical world. The unforeseen, in my carvings: essentially, gradually finding out more about oneself. The working methods of veteran sculptor Alan Thornhill; nine of his works have recently been unveiled along the Thames at Putney as a permanent sculpture trail.Where can students see examples of your work?
A visual archive of works is available to view on the artist's website.
Where did you gain your training? Experience?
BSc. Biology and Geography (Exeter)
MSc. Landscape Design (London)
AFS. Associate of The Frink School of Figurative Sculpture
The Discerning Eye UK Sculpture Bursary 2001
Sculpture gradually emerged as a rather more pure evocation for channelling ones creativity.
Wide variety of teaching experience with those from 5 to 85; with both amateurs and professionals wishing to challenge their practice. Arts Council-funded outreach projects. Teaching must remain a supporting function to ones own practice to keep it fresh and relevant.Is your work in any public or private collections?
Portraits in public collection in UK (Scott Polar Research Institute, Cambridge) and abroad (Museum of South Georgia). Sir John Harvey Jones, Sir Roy Strong, Wilfred Cass, Richard Mabey and James Lovelock have been recent sitters. Sculpture in private collections in the UK.Have you written any books/had any articles published?
Responses: Carvings and Claywork (2008) Jon Edgar Sculpture 2003-2008. Authors, Various. Hesworth Press ISBN-13 978-0-9558675-0-7 Available at West Dean shop (or via Amazon or other online book stores).