British sculptor Michael James Talbot believes that "Sculpture is essentially a theatrical construction, an attempt to show and illuminate a chosen moment in time. I draw my creative inspiration from theatre, myth, dance and illusion. The inspiration for the Briseis and Ariadne sculptures were taken from plumes of water in a night-lit fountain which, with the distortion of the mind’s eye, figures appeared in the tumbling crest of a column of liquid energy. This, I have tried to capture in bronze, through the lost wax process, a technique from Ancient Greece, to render a timeless human narrative from the Myth of Greece. I like to give my sculptures choreography of form, tension and balance to lead the eye and capture a moment in time, sometimes I work with the fragment form rather than an entire figure (like Harlequin and Veil). This is a favourite artistic device often inspired by shadows of the model on the studio wall – because less is sometimes more.”
After completing a BA honours degree in Sculpture, he gained a scholarship to the Royal Academy of Arts in London for post-graduate study in 1980, winning the coveted Landseer prize in 1983. He studied further at The Sir Henry Doulton Sculpture School under Colin Melbourne ARCA and Dame Elizabeth Frink RA.
Michael was elected a member of the Royal Society of British Sculptors in 1997 and was elected a member of the National Sculpture Society (USA) in 2012. The inspiration for Talbot`s work has always been the human form and its dramatic poetry. It is this, together with his exquisite skills that make his work so individual, intricate and beautiful.
Talbot’s original clay sculpture is cast into bronze, which he uniquely finishes and patinas. This process is wholly under his control allowing him to enhance and refine the final image. The wonder and fascination of sculpture is its ability to be a solid form that can be seen, touched and walked around and yet remain an object of pure spirit.“I work from the live model in my pursuit of a particular momentary form or gesture. This I contrast with the absolute nature of bronze. It is what remains when time sweeps all else away. When we gaze into the face of an ancient bronze in a museum, what reaches out across the millennia of time is not how different, but how like us they were.”