Throughout Anthony Tanner’s work, there is a consistent interest in technology and travel, but always in relation to contemplation and reflection of some basic human emotions.

Here the UK Sculptor tells us about his favourite books, music and inspirations for his latest piece.

Anthony Tanner.

SAH: What made you venture into sculpture?

 AT: I retired from a career in dentistry in 2003. Then came my "bucket list"- Learn to sail: buy a boat: cross the Atlantic and a  myriad of other risk-prone adventures. "Very late-onset mid-life crisis," said friends. At least the 3rd said I.

Along the way, I had dabbled in acrylics, and although I could paint very good copies of portrait photos, I could never achieve a convincing result painting real people.

In 2018 with my 75th birthday on the horizon, I began to think about less risky hobbies that might last me into my dotage.

I've always been a bit of a Jackdaw, attracted to shiny metal – and I have always enjoyed making things, so  I decided to have a go at stainless steel sculpture.

So, I took a one-day welding course and emerged an "expert "(not), bought a load of very ancient, very cheap but clapped-out machines and transformed my garage into a workshop.

Then began a long and very steep learning curve, almost vertical on occasions and sometimes overhanging. So, I became a self-taught metal worker and metal sculptor and along the way learned a little about electro-mechanical systems.

After 6 months of hard work my first large piece emerged.” Buddhas Enlightened – A metaphor for Change” which combined traditional metalworking techniques with modern technology.

Family and friends were very surprised by the result which had been under wraps till completion - "you seem to have a knack" said one - all the more surprising as I'd never before shown any symptoms!  From then on I was hooked and it become a passion undimmed after 3 years.

Anthony Tanner. Going Viral.

SAH: Do you remember the earliest memory of when you wanted to do what you do today?

AT: Very much so – in Bali ( a mainly Buddhist country) on a family holiday. Initially, I knew nothing about Buddhism but with a little understanding, it made me reflect on the idea of change. I admired the wealth of sculpture and watching artisans creating wonderful carvings in the most basic conditions.

So with my usual mixture of innocence and arrogance, I thought “ I could do that”.

One day I saw some beautiful lotus flowers in an ornamental lake and thought how amazing that could look fabricated in stainless steel and that's when the idea seriously took root.

SAH: Where do you get your inspiration from?

AT: Inspiration can come from anywhere:- Travel has been important – Bali for” Buddhas Enlightened”, Egypt for the “Hieroglyph Lamps”.

Sometimes the shape of a found object ( I work in reclaimed stainless steel scavenged from scrapyards) – “Light at the end of the Tunnel”  just sprang into my mind.

Important world events – The Covid Crisis – “Going Viral”

Sometimes a particular phrase can trigger an idea - “Lightbulb Moment” something I'm starting to work on now.

 

SAH: How do you go about transforming an idea like that into a physical piece?

AT: A painting is relatively easily altered and so the painting can evolve over time. However,  a metal sculpture is an entirely different proposition.

There are two aspects to my work – firstly the sculpture itself and then secondly the internal mechanisms and control systems that make it do things. They have to be accommodated within the structure.

This is often the most difficult aspect of the work as usually a great deal of time is spent solving technical problems – the theory is simple, realising it is can be more difficult, as again I'm self-taught and learning all the time.

So in order to avoid much-wasted effort, I try to design the completed piece as far as possible before starting work. I try to anticipate where construction difficulties lie, and where I might need to buy some tooling that I don't have.

Whilst the body of the sculpture is frequently made from scrapyard finds, inevitably there are times when items need to be sourced commercially. So planning ahead and allowing for lead times on delivery is critical.

I  have a spiral notepad for each piece, full of thumbnail sketches,  charting the evolution of my thoughts, and design changes until a workable scheme emerges.

“Wouldn't it be great if such and such could happen” and so the evolution of the idea occurs in my head . Only then do I start work and once I start work I want to get the project completed, whilst I'm ”hot to trot”!

Basically, it boils down to careful planning and organisation – project management if you like.

Anthony Tanner. Buddhas Enlightened.

 SAH: Is it possible for you to separate your work from your life?

 AT:  I'm retired and create things as a hobby, so I have the luxury of not depending on my work for income. This allows me to work in “chunks” - say 3 - 4 months solid and then I try to switch off and do something totally different.

I love outdoor pursuits, and reading fiction, which I find to be good “antidotes” to the intensity with which I work, often 8 hours a day – when you love what you do, you don't watch the clock.

Having said all that, I find that ideas are germinating in the “fallow” periods between actually doing the hands-on stuff.

SAH: What kind of impact do you hope that your work has?

AT: I like to create large, powerful, visually interesting, and thought-provoking pieces,  which respond to the curious viewer in surprising ways so that what you get is more than that which you initially see.

Hopefully, this will stimulate contemplation and discussion of the ideas I'm trying to convey.

I'd love people to look at my work and say ”Wow –I didn't expect it to do that etc”.
That would be very satisfying.

Having said all that, it's not going to change the world – at best people will enjoy it,  hopefully enough to buy or to commission specific pieces for large (mainly) indoor spaces.

For example A full size “Going Viral “ 1 meter in diameter, with 200+ “Covid Spikes” incorporating an embossed map of the world, would look amazing in the foyer of the corporate headquarters of one of the worlds major vaccine manufacturers. 

A vain hope perhaps, but who knows?

SAH: What does freedom mean when it comes to art?

AT: The German playwright Bertold Brecht said ”Art is not a mirror to reflect society, but  a hammer to shape it.”

My work is not contentious – I'm not trying to change society. - At worst people won't like it or will be underwhelmed, but when one lives in a liberal Western democracy,  i’s all too easy to forget that much of the world does not enjoy the same privileges and rights that we do.

Banksy's satirical street art is often poignant, thought-provoking, ironic and humorous, and highly critical of the establishment. The wonder and strength of democracy is that despite its many faults, we can not only tolerate but celebrate dissent, whereas in many parts of the world criticism of the regime is not acceptable and would be violently suppressed.

Anthony Tanner. Light at the End of the Tunnel.

SAH: What is your main mode for selling original work now?

AT: Haven't sold anything yet  – I'm not surprised as I started making sculpture only three years ago and  I have only recently created enough work to have a website. Most of my large stuff can take 500+hours to produce so it has to be pricey. Even a small piece can take 2 weeks to produce.

I'm not a great fan of “ social media” although I have recently started an Instagram account .” Likes”  and “I'll follow you if you follow me” are not really my thing, and I'm not convinced that this will necessarily translate into sales anyway.

Perhaps because I don't depend on sales for income, I might be a little too relaxed about marketing myself.

Having said all that, I'm running out of storage space, so need to sell some soon!
So I'm thinking of using online galleries like Saatchi and maybe Singulart, and possibly an agent willing to promote my work on a commission basis.

I'm also trying to make direct connections with Architectural firms to see if they would recommend my work as part of the overall concept for a corporate development – like major research or manufacturing complex, or a Contemporary Church as I have some ideas for those environments. All very ambitious I know, but one has to keep knocking on doors till one opens.

SAH: What are you watching, listening to or following that you would recommend?

AT: I love reading legal thrillers – escapist stuff. Scott Turrow writes wonderfully about flawed people. I have just reread “Presumed Innocent” - knocks Grisham for six!

Martin Cruz Smith writes wonderful Political/Crime thrillers set in the Soviet Union – think Gorky Park, Wolves eat Dogs – Hard to put down.

I  have just watched  “The Antikythyra Mechanism.”.......on YouTube.
The Antikythera mechanism is an ancient Greek hand-powered orrery, described as the oldest example of an analogue computer ( at least 2000 years old) used to predict astronomical positions and eclipses. Mind-Blowing! 

I'm a totally unreconstructed rocker – I love blues, rock and roll....reminds me of my youth and still gets the blood pumping and the feet stomping!

Black Betty - Bam alam. By the Ram Jam -Still great after all these years. Watch it on YouTube.

Chris Rhea – “Gone fishing” – great lyrics from the Auberge Album – it’s not really about fishing although many think so.

“You can waste a whole lifetime trying to be what you think is expected of you, but you'll never be free.

Definitely, something to ponder. 

Anthony Tanner. Hieroglyph Lamps.

SAH: What advice would you give somebody who has just started their artistic career?

AT: I have no background in the art world and no formal training or education in art.

I'm self-taught with only three years experience. I make sculpture as a hobby so I don't depend on it for an income.

Although my work appeals to a variety of people, I haven't sold a single piece so I am not a commercial success. So, it would be presumptuous of me to advise anyone, but  I would make the following observations based on life experience.

When I completed my first work, I was overwhelmed by the response of family and friends which encouraged me to persevere. This can so easily lead to an over-optimistic view of one’s own ability, with inevitable disappointment down the line, so it’s important to maintain a sense of perspective.

Remember, there are hundreds of thousands of talented creative people out there all struggling for a slice of the cake. Saatchi Gallery represents 40,000 artists (!) but there is only one David Hockney, Damien Hurst,  or Anthony Gormly.

So it’s really important to believe in yourself, develop a clearly defined style,and perhaps have a unique selling point (USP) that will make your work stand out from the crowd.

If you enter competitions don't expect too much – adopt a Zen-like approach – art critics and judges may not share your vision.

Try to get as much exposure of your work as possible. The location could be a game-changer.  For example, if you live in the London Burrough of Barnet – Artsdepot are offering free gallery space at the moment to local artists. Artsdepot is regularly visited by such luminaries as David Baddiel and other show biz types – if they like your work it could put you on the map.

Finally, be patient and persevere, persevere, persevere, and if you have a day job don't rush to give it up. In my previous incarnation, I became an “ overnight success” after 20 years of hard work, although I  hope it doesn't take that long this time!