Kerrin McEvoy
Sculpting Kerrin McEvoy
I first met Kerrin on 4th May 2018 at the Oaks Hotel Glenelg a day before he rode at Morphettville.
I was delighted Kerrin agreed to the idea of a sculpture of him and to be photographed in his racing silks and gear as a starting point. Kerrin would not seek to have a sculpture created of himself but I believe he conceded to this with true community spirit.
I took over 200 images of Kerrin during this session while experimenting with various compositions inspired by the idea of weighing in, minus the scales.
The first thing that struck me about Kerrin was his remarkable focus and attention to detail. These qualities had to come into the sculpture! – For these are qualities that no doubt contribute to his success.
On return to my studio I created a drawing. The composition of the sculpture was left to Kerrin and I to work through, including adjustments such as wearing his helmet rather than it sitting on the saddle and the position of the saddle adjusted to expose more of the decorative stitching. Kerrin supplied reference material such as saddle, boots and goggles etc.
Following the drawing, a maquette (miniature 3D sketch in clay) was created providing all parties with a 3 dimensional view of the composition. Kerrin and I discussed the maquette at a Streaky Bay sculpture fundraiser in August 2019. Kerrin liked the composition and there were changes noted that would be included in the life size work. The most notable being the original requested serious expression to be changed to a smile.
Pressing on with the large work based on all information gathered, including detailed anatomical measurement for proportions, the plasticine sculpture was sculpted 5% larger than life size to allow for shrinkage in the casting process.
From the beginning it was obvious this sculpture needed to be one of the most finely tuned works of my career and would prove one of the most challenging. It was not only the sculptural demands of capturing that broad smile and focus in the eyes but capturing the true likeness amid helmet and chin straps.
I relish the challenge of a full body sculptural portrait where body language, right down to finger tips, tells the story. This sculpture has had its surprises to work through including the position of the saddle requiring anatomical adjustments to achieve a relaxed natural outcome.
Through no one’s fault there were significant delays much of which was due to the extraordinary times of 2020 to 2022. With the completed plasticine sculpture approved in late 2021, the foundry process began.
Cast in the lost wax system ( a technique that in principle hasn’t changed in 3000 years) moulds were taken , the sculpture cast in wax (in sections) , the waxes invested into plaster moulds, the wax burnt out and molten bronze poured into the cavity left by the melted wax.
When cooled the bronze sections where welded together and surface detail refined as per original sculpture.
At Kerrin’s request the colours and design of the silks are to be those of Sheik Mohammed’s i.e. red and white. The bronze patina cannot replicate this literally but with a good deal of research and consultation with the foundry it was decided to represent the silks in sepia tone patinas. This makes for an exciting and unique finish on this public bronze.
