Margaret Lovell D.Litt. Hon FRBS RWA English, b. 1939

‘My sculptures are inspired by organic, natural forms – such as plants, and the elements of sea and wind. A recurring theme and feature of my work are undulating planes with polished edges that suggest or define a movement through space; or often the sculptures consist of two individual forms in relationship to each other, striving to create a unified harmony.’

The acclaimed sculptor Margaret Lovell was born in Bristol in 1939. She studied at the West of England College of Art in Bristol from 1956 to 1960, and the Slade School of Fine Art from 1960 to 1962, where she studied under the English Modernist sculptor A. H. Gerrard – winning First and Second Prizes for sculpture and etching. She was then awarded an Italian State Scholarship and studied at the Academy of Fine Art in Florence until 1963. This was followed by a Greek Government Scholarship which allowed her to travel in Greece between 1965 and '66 and study classical and Cycladic sculpture

In 1962 she worked at the Morris Singer Foundry and learned about bronze-casting techniques. Through working there, Margaret was introduced to Barbara Hepworth, with whom she built a good friendship, and gained invaluable guidance regarding good studio practice.

In addition to being a Fellow of the Royal British Society of Sculptors, Lovell is a Member of the Royal West of England Academy. She was awarded an Honorary Degree of Letters by the University of Leicester in 2012 for 'distinguished contribution to sculpture’.

Since the late 1950’s Lovell's sculptures have been exhibited extensively in the UK, with many solo shows: the first in 1965 at the Marjorie Parr Gallery, London; in 2006 at Minster Fine Art, in York (established by Porthminster Gallery directors Dee and David); in 2009 at the Royal West of England Academy, Bristol; and in 2009 a '50 Years On' retrospective show at the Porthminster Gallery in St Ives. Her work was also featured in the national touring show, ‘Unpopular Culture’, curated by the artist and ceramicist, Grayson Perry, from works selected from the Arts Council’s collection, and features in the show’s catalogue.

Margaret Lovell’s works are in many public and corporate collections throughout the UK Europe and the USA, including the City Museum & Art Gallery, Plymouth; The Arts Council of Great Britain; the University of London, and the University of Southampton.

Commissioned works include sculpture for Barclay’s Bank Ltd, Bristol; 5-metre high sculpture for the Great Ouse Water Authority; World Sailing Championship Trophies for John Player & Son; sculptures for World Achievement Awards, Unilever.

The artist relocated from Bristol to New Zealand in 2016, working from her studio there, and we wish her many more years of sculpting ahead. As Margaret puts it, 'One does NOT retire from sculpture!!!' 

Margaret Lovell whilst studying at the Slade:

"I was studying at West of England College of Art when I was first introduced to sculpture through stone carving, which I took as my 'craft' subject, simply because I 'fancied' bashing a lump of stone! From then on, I knew I wanted to specialise in sculpture. I have enjoyed a lifetime of being involved with sculpture ever since!

"Whist I continued to carve earlier in my career as materials were cheaper, I now almost entirely work in plaster for bronze, very often using clay for a mould, and working in reverse. I 'see' the work in bronze as I make it. It is a beautiful material to use because it can be patinated different colours besides being contrasted with polished areas which come up to reflective. I discovered this contrast of finish of the same material, when I was working at Morris Singer Foundry, then at The Oval in London. It has been extensively adopted by others since. I worked there for experience through the recommendation of F.W.McWilliam, one of the visiting tutors whist I was at Slade.

"Before going to the Slade I was determined to make a career in sculpture and not do a teacher training course as an 'insurance policy'! The Slade and RCA where the highest aims possible and if I could not go there, then I was going to get work in a foundry so that I could cast my own work sometimes. However since my tutor, Ernest Pascoe, was Slade trained and in contact with Professor A.H. Gerrard, who was Head of Sculpture at the time, he came to Bristol and saw my work, and accepted me for entry. This was one of the most exciting things that ever happened in my life, and at the time I did not even realise the impact that experience would have on me.

Whilst at UCL I loved working in the outdoor basement area over the weekend all alone. The Professor would leave his office window open so I could climb in and plug in my drill. Not so good when I caught my hair in drill once and had to do some chopping to release myself! There would be a person upstairs in The Bartlett some weekends too, playing a record of Brahms Symphony No. 1. Never knew who it was, but that music always conjures up those days of peaceful working, solitude and freedom.

"I did experience unusual films through the Film Society at that time. Also 'discovered' more unusual (for me) classical music as Camden Town was walking distance, and they had a 'Record Library' which was very new in those days. (No Classic FM etc!) Bartok, Mahler and Prokofiev came into my life....big time!

"In retrospect I realise that the 'hidden gem' at UCL is someone believing in your work and encouraging you. There has always been someone for me.....right from the art master at school, art college, then Slade, then foundry manager, galleries and clients! Others notice if you have passion for your work, work hard and get on with people.

"I don't really believe in 'inspiration' as it conjures up something a little 'airy-fairy'. With sculpture, it's physical work and you just get on with it. I have an idea or thought, and do not want to think about it too much else it becomes 'self -conscious'. I just get materials out and it takes off, leading from one stage to another. Often from one piece to the next too. Or by contrast to something completely different.

"The impact of the graduate show was somewhat daunting because it was a 'this is IT' situation…two years of intensive study culminating in a show that others would view. When I was working it was always just me and my involvement, not caring at all about any other factor. That was the awesome thing about the Slade: time and freedom. It could be dwindled away, or intensely grasped, which is what I did. It was an opportunity of a life time! It did have a feeling of achievement to see the work in the show, knowing I had given it my all!

"I’ll carry on creating sculpture as long as I can put a bit of pressure on a rasp! Sculpture is part of my 'breathing'! "