Hannah Kenway Sculptor
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About Hannah
spacer   Hannah studied Zoology and Philosophy at Bristol University before fulfilling a childhood ambition to train as a Vet. She has worked in Veterinary practice for almost twenty years, with spells in specialist equine and small animal practice. In recent times farm animals have become a passion and she is currently working in a specialist farm practice with a particular interest in cattle.

Years of study of anatomy and physiology have resulted in a view of the living animal as a functional and structure based being - and this, superimposed upon the real essence of the beast, lends a quality of true character and deep understanding to her work.

Beautiful music, bovine medicine, the biggest dog you have ever seen, and more than your average number of children feature among the daily household activities.
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The Process
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Time occasionally generously offers itself for sculpting. In a recycled sauna/studio, intricate diagrams from worn anatomy manuals are transferred from page to hand and from hand to wax.

Working largely from direct observations of the living animal, the piece is begun by the creation of a stainless steel armature onto which layers of soft wax are pressed, allowing intricate and fine detail to be captured. The clay sculpture is painted with two layers of silicone rubber to a depth of approximately 5mm depending on the size of the piece. After the rubber has cured, the piece is divided into sections using clay "walls" to ensure that there are no "undercuts". Two layers of fibreglass mat are then applied to the sections. When hard, the fibreglass sections are removed exposing the silicone rubber. This is then cut to ensure it can be removed from the clay sculpture in as larger piece as possible. The rubber is then cleaned, waxed and replaced inside the re-assembled fibreglass case. A mixture of resin and metal powder ( bronze, aluminium, copper etc ) is then prepared to a creamy consistency and this is poured into the mould ( usually through the feet apertures ) and turned to ensure all the interior areas of the mould are covered. Any excess resin is poured out of the mould and discarded. When this coating has hardened, the mould is then filled with a resin mix and left overnight. When cured , the fibreglass case is removed, and the silicone rubber peeled away from the resin. The seam lines from the rubber are then fettled and the metal exterior highlighted with wire brushes and wool. The piece can then be patinated to the desired finish.

Hannah works in partnership with a local artist and casting expert Crispin Foy to ensure that each finished piece is a unique and deeply personal creation.

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© Hannah Kenway
Email: hannahkenway@gmail.com       Tel: 07885 543 945
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