Alan Somerville - Biography

Alan Somerville - Clancy

Born in Dunedin, NZ.
Prolific drawer from early childhood. Represented Otago province in rugby and athletics.
Livestock farmer in Maniototo, NZ until 1987. 1988 moved to Sydney with the aim to focus on sculpture.

No formal art training. Ongoing attendance at artist-run life drawing classes.

 

Major public sculptures

2008   
NZ WW1 Soldier, 4.2m bronze
Anzac Bridge, Sydney

2007   
Sir Tristram with Sir Patrick Hogan, Life size bronze, horse and owner Cambridge Stud, Cambridge, NZ

2007   
Blessed Pope John 23rd, Life size bronze NSW Sydney Diocese for Blessed Pope John 23rd

2006   
Sir Roden Cutler VC, 2.1m bronze, Manly Primary School, Sydney Australia Remembers Trust

2006   
Sculpture representing three works of Sisters of Mercy in bronze, Mercy Hospital, North Sydney

2005   
Manning Horses, Three bronze horses, 3/5 life size, Manning building foyer, Sydney OSM Developments

2003   
Clangalang racehorse 60cm bronze horse, Australian Jockey Club

2003   
Australian Armed Services personnel, 2x4m bronze wall plaque, Mittagong RSL, NSW

2000   
Australian WW1 ‘Digger’, 4.2m bronze, Anzac Bridge, Sydney

2000   
Bronze Phoenix, 2m bronze, Paul Keating Park, Bankstown, Sydney

1999   
Bronze Bull, 1 1/3 life size bronze, Avillion Arcade, World Square, Sydney

1995   
Sir Henry Parkes, 2.4m bronze, Centennial Park, Sydney

1993   
Three works, bronze soldiers National Australian War Memorial, Canberra

Other sculptures held in private collections in Australia, NZ, UK and USA.

 

Artist Statement

As a figurative sculptor I aim to capture the essence of the subject based on strong form. Movement, energy and emotion are very important. I strive for these qualities in my work and value them above absolute anatomical correctness and overworked highly detailed finishing which often destroys spontaneity and feeling. Good art and sculpture should test the viewer’s imagination.

 

Wyong Special Sculpture Prize 2000 – Winner ‘Aphilion’

‘This outstanding work with its shimmering impressionistic surface outrageously pushes the principles of the great Rodin into the 21st century.’  James Deas, [Judge].

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