In July of this year, Liz and I travelled to Cornwall. My brief? To make an owl sculpture in St Mawes, a gorgeous village on the Roseland peninsula…
BRAGANZA B&B…
So how did an artist in Wales end up carving in Cornwall?
When I blog about a sculpture, I always ask my clients how they heard of me and how they decided to commission me. Well, this one is a truly unique story! First, a bit about the location, though…
My client, Krysia, owns and runs Braganza, a Bed and Breakfast in the village of St Mawes. Her family owned a couple of hotels in the area, as well as Braganza, so she grew up around both the business and the property – a stunning Georgian grade II listed building in a fantastic location overlooking the sea. A beautiful building with beautiful views to match!
Not only does Braganza look and feel quite traditional, but Krysia runs it traditionally with an emphasis on style, elegance, and service. We loved our stay and would absolutely recommend it to anyone planning a holiday in Cornwall.
AN OWL FOR BRAGANZA
Unfortunately, a 200-year-old Monterey Cypress on the property was damaged in a storm. It split, and it was necessary to fell it for safety reasons. Monterey Cypress is native to New Zealand but grows well and is found a lot in the west coastal areas in the UK, like Cornwall, Lleyn Peninsula and Anglesey. Sadly, this species won’t sprout again once the crown is gone, like some trees do.
Krysia thought it would be nice to create something in the remaining stump, and her tree surgeon mentioned a house with a sculpture.
She has always liked owls, and there are several poems about the owls of Braganza, so it seemed fitting to turn it into an owl sculpture. Having decided what to do with the tree, her search for an artist began…
A SERIES OF COINCIDENCES
This is where the story gets really fun!
As a B&B owner and host, Krysia meets people from all walks of life, and she began sharing her idea for an owl sculpture with various people who visited and worked at Braganza. One day, someone sent her an Instagram post of my Giant Hand of Vyrnwy, and something clicked. It isn’t uncommon for people to find the sculpture and get in touch (that’s actually how Sculpting Tranquility started!), but this was far more personal. Lake Vyrnwy holds some deeply personal memories for Krysia as it’s where her mother honeymooned, and sadly, where her mother had lunch with her son for the last time before his death.
This connection immediately caught her attention and appealed to her, so she looked into the artist and discovered I was named O’Rourke. Her grandmother’s maiden name!
We’re not sure if or how we might be related or how far back (my dad is our family historian, so I’m leaving that to him!), but, as Krysia says, she felt like it was ‘meant to be’, and got in touch to commission a sculpture.
OWLS, OWLS, OWLS
I think I’ve been asked to carve more owls in my career than anything else. And even if a sculpture isn’t uniquely an owl, they often feature in montages like wildlife pillars.
So, how do I make sure each one is unique?
Well, in part, the unique backstory and history ensure the sculpture feels personal to my client. Just look at the story behind this one!
Another factor is the tree. Every tree and piece of timber is different, so even an exact copy of an owl (which I would never do) will look different and age differently.
In this case, the wood is very high in natural preservatives, with high oil content. It’s a very durable timber, so it will last well. I made sure all the sculptural parts were carved within the heartwood, as the sapwood discolours and degrades much quicker.
Given the sculpture’s height and size, as well as its awkward location, maintaining an oil finish to preserve the colour will be challenging, so I’ve recommended leaving it to weather.
Over time, the UV will bleach out the surface colour, and it will blend nicely with the environment. The remaining bark will likely separate and fall off in places, and will become a haven for insect life.
NOTICING THE DETAILS
The other factor that keeps sculptures unique is detail and design choices.
I may add other animals, and you’ll notice a squirrel and a relief-carved bird in this sculpture. Each time I carve an owl, I try to make it feel like a new subject matter and really feel the movement. I will still look at reference photos, and will always pick up on some new detail I’d not appreciated before. Nature is amazing and there’s always something more to discover and capture in my art.
Some clients are particular about a species of owl, some are happy with any species so this helps ensure no sculpture is the same.
My client may also choose to incorporate a unique design choice, too. In the case of St Mawes, you’ll notice the owls face different directions. That’s because Krysia didn’t just want the sculpture to be for her and her guests; she generously wanted it to be for the whole village. One owl faces the property, and one owl faces the road to be enjoyed by everybody. What a lovely touch!
MY BRAGANZA EXPERIENCE
If you go to my Facebook page, you can find the vlog series I made while I was working on this sculpture. You’ll see I had a lot of fun, and Liz and I were thoroughly spoiled by Krysia. But although it’s great when I enjoy a project, it’s what my client thinks that counts!
In this case, Krysia was delighted with the finished sculpture and in her words “thrilled” – not just for herself,but “for the village”. Both Krysia and villagers found it fascinating to watch the process, and Krysia amazed at how quickly you could see the shape coming! Having an owl facing outwards has worked really well, and several villagers have thanked her for it.
So, happy client, happy artist – a fantastic outcome to a sculpture with its roots in some unexpected connections.
Thanks for reading, and as always, if you would like a sculpture, contact me via www.treecarving.co.uk/contact and I’ll be in touch!
