Through his work Ean explores the complex and fragile correlation between humans and the natural world, and how as a species we continuously alter and change through design our environment. Through his sculpture he showcases the graphic magnificence of the memories of both human industrial development and the stark reality of natural mortality.
As a sculptor, Ean originally engaged with found animal skeletons that combined with recycled metals, creating work to compliment the beauty of animals in both life and death. More recently he has been substituting real bones with metal frames/skeletons. However, the construction process remains identical, starting with the internal 'engine-block' of organs overlaid with muscle tissue connected with sinews and tendons which are re-created using mixed metal to reanimate the creature as if alive, adopting new combined identities through mechanised anthropomorphism. The contrasting metals and textures finds natural fluidity reflecting our modern world and its new integrated order.
The outer skin connects and joins similarly to armour and that of Victorian iron built machines. He leaves spy-holes and openings within the construction of the outer skin deliberately exposing the internal workings within each piece. The blending of organic and fabricated engineering symbolizes the symbioses between humans and animals, cooperating within constant changing environments for survival. The pieces are finished with 'flying wires' creating final linear semblance.
A number of pieces are directly influenced by historical, cultural and religious change; illustrating how as an enterprising social species, humankind's industrial and technological advancements are at constant odds with its primitive ancient self-beliefs.
A number of the insect pieces depict direct human intervention on the natural world resulting in a forced evolution, insects adapting to a human way of life to survive as their world shrinks by human design.
After graduating in 1995 from Duncan of Jordanstone College of Art and Design (University of Dundee), Ean moved in many directions acquiring numerous and varied creative and technical skills. In 2002 he set up his own product design company, creating and producing a wide variety of different commercial design products and concepts. In 2015 he returned to his original path of sculpture.
Construction & technical Process
Ean's work follows two paths; boned constructions containing real skeletons and non-boned pieces.
The sculptures are made from copper with brass, steel, aluminium and bronze details; all of which are obtained through recycling services, scrap metal merchants and donation.
Glaze textures are reached through reactive mixtures. All pieces are hand-painted using a variety of different paints, inks and finishes.
Green and blue patinas are achieved using ammonia and salt vapour baths.
All welding performed with a non-gas MIG.
The 'base stones' are Yorkshire sandstone sourced locally in North Yorkshire and the slate is from Honister slate mine in the Lake District.