Nic Fiddian-Green has been represented by the Sladmore Gallery for nearly 20 years. His work, from small maquette to massive monumental, is highly prized around the world in public and private collections.
Born in Hampshire in 1963, he graduated from Wimbledon School of Art after a three year degree course in Sculpture. Engrossed in the horse as a subject and working in marble, he was greatly moved by the power, skill and beauty of the Parthenon frieze and the horse as depicted by the Ancient Greeks. In particular the remarkable “Selene” horse.
He next attended St Martin’s School of Art where he learned the skill of casting in bronze. He gained a Diploma in Advanced Lost Wax Casting and then established his own foundry outside London. Work commissioned in Gozo in 1992 allowed him to open a foundry there too. He then divided his time between Gozo and England working in the lost wax technique on a variety of projects.
Through sheer determination and passion for his subject Nic Fiddian-Green has stayed true to the form of the horse’s head for 25 years. The spirit and power of this noble animal, both servant and master to man, has been the artist’s long-term obsession. We have been venerating horses in art as long as we have ridden them and Nic’s sculpture continues the very long line of artists inspired by them. The earliest example of art ever discovered in Britain, was of a horse: a flat bone with a horses head carved into it of 10,000 BC. The startling similarity between Nic’s small marble carvings and the tiny carved stone horse in the recent “Ice Age ” show at the British Museum amazed all of us. Through da Vinci’s sketches, the sculpture of Degas, the paintings of Constable and Stubbs, to the work of recent masters, like Frink and Flanagan; Nic’s glorious obsession with the subject is a worthy inheritor of many distinguished forbears
Nic’s recent harrowing encounter with a life-threatening illness has caused an obvious and honest creative re-assessment. There emerges a stronger, deeper and more contemplative vision that permeates the new work. His sculpture is sometimes seen as a form of self-portraiture, even through the form of the horse’s head. He shows us how his spirit and his faith help him triumph over the physical. In the eyes of his silent horse’s heads we feel pain, strength, fear, wisdom and more as he asks complicated questions of the viewer that give the new work a powerful spiritual and emotional resonance. These inner reflections are as profound as the pieces’ outer beauty and majesty are striking.
In his body of work he continues to show he is an artist of our time, formed and inspired by his recent experience. The early influences of the elegant Parthenon frieze are still apparent, the classical Greek principles of grace, beauty, serenity, and harmony balanced with new sensibilities to create his unique, very modern sculpture.
He uses his imagination and his acute awareness of work from previous centuries to inspire and influence his sculpture. He also works closely with his subject, equine models right there in the studio with him, direct from life. His close relationship with the horse was demonstrated further when his favourite model “George” actually attended a recent Private View inside the gallery.
The 33 ft high bronze “Still Water” situated at Marble Arch in central London has become one of the city’s most loved landmarks. Further monumental works have been installed at Glyndebourne Opera House in Sussex and in the Royal Enclosure at Ascot. The largest and most stunning piece of his career so far, the 40 foot high “Artemis”, was placed on the Trundle Hill on the downs overlooking Goodwood House and racecourse. It has now been shipped to its new home, in a private collection in the Hunter valley in Australia.
He has work in many important private and corporate collections and has exhibited in major galleries in Paris, New York , Sydney, Hong Kong and others, as well as at most important Art Fairs such as Tefaf Maastricht, Art Dubai and Masterpiece, London. His regular Summer exhibitions at the Sladmore have become an important part of the London Art scene.
A note from the sculptor: “In 1983, when I was a student at Chelsea School of Art, I saw the Elgin Marbles in the British Museum for the first time. To me these ancient marble carvings embodied the most refined principles of Greek and Classical Art and it was these from which I drew my formative inspiration. In particular the spectacular Selene Horse. Since that time, I have tried in my own work to capture the skill, vitality, balance and beauty, which is so evident in these Greek carvings.”
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