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Alan Thornhill
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Alan Thornhill
Alan Thornhill (1921 – March 4, 2020) was a British artist and sculptor whose long association with clay developed from pottery into sculpture. His output includes pottery, small and large scale sculptures, portrait heads, paintings and drawings. His evolved methods of working enabled the dispensing of the sculptural armature to allow improvisation, whilst his portraiture challenges notions of normality through rigorous observation.
Born in London, he grew up in Fittleworth, West Sussex, attended Radley College, and then in 1939 went to New College to read Modern History. In 1944 he returned to Oxford, having been exempted from military service as a conscientious objector. He obtained his degree, and spent a year in Italy based in Florence, teaching English at Pisa University. He then stayed six months in Oslo undergoing Reichian therapy, from which came the decision to try working with his hands.[citation needed]
In 1949 he was accepted for the pottery course at Camberwell under Dick Kendall and Nora Braden, followed by a year at Farnham under Henry Hammond and Paul Barron, before moving in 1951 to Eastcombe, Gloucestershire, where Hawkley Pottery was set up. In 1958, frustrated by the repetition involved in making and selling pots, he started to gravitate towards claywork and sculpture through friendship with established sculptors Lynn Chadwick and Jack Greaves. In 1959 he moved to London, having found a property in Putney which included a semi-derelict outbuilding that became his studio, which still exists. Latterly he was largely based near Stroud, Gloucestershire.[citation needed]
He first taught claywork at Kingston, Barking Regional College, Rush Green College of Further Education and then sculpture at Morley College, London between 1970 and 1987, and at the former Frink School of Sculpture where he was a founder trustee and with a later teaching role (1995–2001).[citation needed]
He was married to the painter Sheila Denning, with whom he set up Hawkley Pottery; the marriage ended in divorce.
Devising his own way of working which dispensed with the traditional sculptor's armature, he began working with random clay elements, constructed of coarse clay with uniform thickness, so that sculpture could develop, be turned and incorporate subconscious impulses in building the work. The assemblage of clay elements was dried and slowly kiln fired, if necessary being cut up to accommodate to the size of kiln and then rejoined after firing. The simple impetus was the desire to produce another sculpture, yet the later resulting large works – part figurative, part abstract, came to echo pre-occupations for him at that time. The process of improvisation and avoiding pre-conceived ideas (and in his portraiture, avoiding notions of normality through rigorous observation) continues to be taught through some of his own former pupils. His writings include notes about portraiture and the nature of the creative process.
His portraiture in public collections includes:
Other eminent figures who have sat for Thornhill include Enoch Powell, Christabel Bielenberg, Frank Cousins, Richard Rodney Bennett, Michael Cardew, Sir Colin Davis, Dennis Silk and Basil Bunting.
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Alan Thornhill
Alan Thornhill (1921 – March 4, 2020) was a British artist and sculptor whose long association with clay developed from pottery into sculpture. His output includes pottery, small and large scale sculptures, portrait heads, paintings and drawings. His evolved methods of working enabled the dispensing of the sculptural armature to allow improvisation, whilst his portraiture challenges notions of normality through rigorous observation.
Born in London, he grew up in Fittleworth, West Sussex, attended Radley College, and then in 1939 went to New College to read Modern History. In 1944 he returned to Oxford, having been exempted from military service as a conscientious objector. He obtained his degree, and spent a year in Italy based in Florence, teaching English at Pisa University. He then stayed six months in Oslo undergoing Reichian therapy, from which came the decision to try working with his hands.[citation needed]
In 1949 he was accepted for the pottery course at Camberwell under Dick Kendall and Nora Braden, followed by a year at Farnham under Henry Hammond and Paul Barron, before moving in 1951 to Eastcombe, Gloucestershire, where Hawkley Pottery was set up. In 1958, frustrated by the repetition involved in making and selling pots, he started to gravitate towards claywork and sculpture through friendship with established sculptors Lynn Chadwick and Jack Greaves. In 1959 he moved to London, having found a property in Putney which included a semi-derelict outbuilding that became his studio, which still exists. Latterly he was largely based near Stroud, Gloucestershire.[citation needed]
He first taught claywork at Kingston, Barking Regional College, Rush Green College of Further Education and then sculpture at Morley College, London between 1970 and 1987, and at the former Frink School of Sculpture where he was a founder trustee and with a later teaching role (1995–2001).[citation needed]
He was married to the painter Sheila Denning, with whom he set up Hawkley Pottery; the marriage ended in divorce.
Devising his own way of working which dispensed with the traditional sculptor's armature, he began working with random clay elements, constructed of coarse clay with uniform thickness, so that sculpture could develop, be turned and incorporate subconscious impulses in building the work. The assemblage of clay elements was dried and slowly kiln fired, if necessary being cut up to accommodate to the size of kiln and then rejoined after firing. The simple impetus was the desire to produce another sculpture, yet the later resulting large works – part figurative, part abstract, came to echo pre-occupations for him at that time. The process of improvisation and avoiding pre-conceived ideas (and in his portraiture, avoiding notions of normality through rigorous observation) continues to be taught through some of his own former pupils. His writings include notes about portraiture and the nature of the creative process.
His portraiture in public collections includes:
Other eminent figures who have sat for Thornhill include Enoch Powell, Christabel Bielenberg, Frank Cousins, Richard Rodney Bennett, Michael Cardew, Sir Colin Davis, Dennis Silk and Basil Bunting.
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