Sculptor Adam Warick Hall caused a stir at the last FLUX Exhibition, selling two of his incredible works before the doors even opened.   FLUX Exhibition is delighted to welcome him back to the next event at Chelsea College of Arts in April 2018.  Read about his work and inspiration below:

Self taught or art school?

My mother was a sculptress, she carved in wood and used clay so I used to learn a little from her as a child but after leaving school I undertook a specific Fine Art Foundation course at Ravensbourne College in Kent and the completed a specific Sculpture Degree course  at The Winchester School of Art.

This included a Term and a bit at the HDK (Hoch Schule der Kunste) in Berlin. I then went on to work as a sculptor in Shepperton and Pinewood studios for Film and TV where I learnt to work with an amazing array of different materials.


If you could own one work of art what would it be?

Probably  “ Large Horse “ by Raymond Duchamp-Villon, I came across this first in my youth in a study trip to the Pompidou Centre in Paris and was absolutely enthralled, I could look at it and caress it all day with great pleasure!


How would you describe your style?

At the moment I seem to be going through an “ Aerorganic “ phase, striving to find a balance between nature and machine  in the forms of Aeroplanes in a melange with animals, birds and plants. I believe there is a balance to be struck between the graceful forms and aerodynamic shapes of aircraft, form through function and again the same of plants animals and birds where their shape and form has evolved to suit their circumstances. Aircraft fascinate me , like cars, Aircraft are a symbol of our modern world, they are our past, our present and , it seems, our future. Airplanes have history, glamour, action, service, ever present reliance ( that we can always catch a ‘plane out of here).

Taking a  first flight in an  aircraft is the most dramitc  and exciting event in most peoples lives , even if they do not realise it.

The distorted geometry of this tremendously sylised object, perhaps the most powerful symbol in our modern civilization seems to pull at all sorts of concealed ,triggers in the mind.

They are form through function and I find their feminine beauty mesmerising  They soar, they dive, they crash, burn , get shot down, they get blown up they disappear, they corrode, they decay then they get renovated and made good to be gods of the skies once more. Femine curves or aerodynamic structures, wing roots, fuselage , empenage, undercarridge, tailplane, all the anotomy of obsession to the cause that is the desire to fly.

This, mixed, warped, melded and welded to the natural forms of animals and birds in nature, seems less of a juxtaposition and more of a evolving being, how things could have been meant to be?

Aeroplanes are freedom, a human extention of our travel capabilities, flying boats, bombers, transports and rescue  potential, they have power and omnipotence.Grace and ballet, an opera in the clouds, the exhilaration, the solitude, the essence of removal from the mortal , earthbound plane.The art of vapour trails across the formless blue sky as if they are fungal mycelium , striving for connection, station to station, coast to coast.Aeroplanes pervade our soul, our psyche, ever present magic of the fractious , passionate times of our forefathers.So many directions they have gone in , could go to………..but what of the genesis , the journey to their creation, evolution, grown onto flight. I best stop here as I am getting carried away!


 Where are your favourite places to view art?

The Museum of Modern Art in Berlin, the original Tate but mostly independent Galleries and shows as I find there one finds new and quality artwork by people striving to express themselves instead of the tired merry go round of the so called “Young British Artists” . It is time to move on from this period and the smaller independent galleries seem to realise this .

Who are your favourite artists and why?

Henri Gaudier-Breszka , Christopher Nevinson and most of the other members of the Vorticists. They existed and struggled through probably the most tumultuous time in recent history, the actual dawn of the machine age and lived through the transference from a natural to a mechanised world, or almost. The coming of the First World War did for most of them, Gaudier -Breszka was sculpting in the trenches, carving the rifle butts from captured Germans before he met his end!

Too many to name really but Epstein, Lipchitz , Moore, Nash, Hepworth and Wyspianski to choose a few.

What or who inspires your art?

My experience of this world. Instead of getting hung up on Money or Status, I use my life to observe this rich and vibrant world around us, its history , its essence. Art, Aircraft, birds, fish, animals, beauty , all are ever present if we choose to see. I do not watch TV so have so much more time to actually see for myself rather than being fed what I am told to experience. Boiled down I suppose it is life , death, art, science and awe that inspire me , there is so much there, it is aeroplane that I focus on at the moment just as other artist may choose the human or animal form ?

Where’s your studio and what’s it like?

Rather embarrassingly for a struggling artist I have three, though luckily I only have to pay rent on one!  I built my wax and clay studio in the back garden out of the perfectly good materials that are thrown away on building sites as it is too expensive or difficult for the companies to re stock and re use the items. I hate waste so have been skip scavenging on the construction sites I have worked on over the years and now have a purpose built, treble insulated, double glazed, timber frame, oak floored garden studio with power and lights. The only thing I had to pay for was a set of glass patio doors from eBay!

My friend and neighbour has an old barn garage type building that is a bit run down so I am helping fix the roof and gradually mending it for her in exchange for a space to make a Plaster studio.

Finally my 3rd studio is in an old chemical store at the end of some agricultural buildings on a friends farm, it is only about 10 feet by 8 feet but it serves as my metalwork studio for chasing , fettling and patinating bronzes as well as for welding steel for armatures and one off sculptures.

Do you have any studio rituals?

Never any music, I like it as quiet as possible as the sound would distract me from my work and colour what i am doing, I do not , yet, want a sculpture based on the thoughts and feelings from Chopin or Led Zeppelin. I always tidy and clean the studio when I finish so that all my tools are cleaned and arranged ready for next time as at the moment I only get 2 days a week in the studio so time is at even more of a premium than usual.

What are you working on currently?

A commission for the Royal Navy Historic Flight at RNAF Yeovilton, the third in the series of “ Herringkel “  and a couple of new pieces I do not want to talk about just yet, keep my powder dry and all that but being agnostic it is something that may be a little contraversial to those who do believe in a one single god and those who do not learn from history, enough said for the moment.

Where can we buy your art?

My work is exhibited by Clifton Fine Art in Bristol, Wychwood Art in Oxfordshire, Lilford in Canterbury , George Thornton in Nottingham and Cloud Gallery in Horsham and Chichester, I have had a couple of shows in London, Mayfair and Islington but I am still searching for a gallery to represent me in London, the toughest nut to crack!

What are your ambitions?

To get as close as I can to a satisfactory melange between aeroplane and organic beings to complete my Aerorganic series before moving up to the next series. That and get decent representation at other major cities in the Uk and I would love to be exhibited in Germany, France and Spain , to start with. I love the Berlin and Hamburg galleries and think my style would fit well with them.

Once this exploration is completed I would like to work on much bigger sculptures again as I did at art school, public art that has a sense of scale that can relate to the organic form in a more encompassing attitude.

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