On the nose II (Retitled Head Space)

Steve Glassborow


Artist's statement: Over the years as a Sculptor, I have made many Figures. But I only started working on Animals about 15-20 years ago. Not because I didn’t want to , but more due to opportunity. After making a public sculpture of a Horse for the City of Whitehorse in Melbourne, I felt driven to make more. The original head, that I built for the Whitehorse sculpture, I still had, balanced, on its nose in my Studio. Just seeing it standing there was my inspiration but it had to go through a number changes first, I slowly trimmed and simplified the idea.
The final touch happened when I decided to cut the head into sections and Patina the piece blue by doing so, it was no longer a classical work, it was now a horse head, with a contemporary tint. The colour and the slices, gave it a structural/sculptural veil which I loved.

Medium: Bronze sculpture
Dimensions: 180 cms high
Date: 2018

Condition: Excellent

CHG Director's Statement: Glassborow’s design and imagination is superior! Call it intuitive, imaginative, creative. Steve says much of the impetus for a sculpture comes from a phrase or sentence that comes to mind after an observation.

Art deco and beauty, particularly the feminine, has been a constant influence in Glassborow’s art along with the element of science fiction. He is fascinated in creating a figurative form and aligning it with another era. The finished product is edgy and fascinating to perceive.

In more recent years, Glassborow himself has taken over the selection of coloured oxides and the patination process. The outcome is a more sophisticated colour application and surface texture.

We often judge quality through the aesthetic, and Steve’s figurative work is highly relatable and expressive.
Designing a simplistic interpretation is, in reality, far from simple. A seemingly simple piece requires a finesse for the flow of line and composition, which is engendered in the Glassborow style. Once you throw in a suggestion of sensuality and an understated patination, you have the core essence of this designer/sculptor.

Helen Hopcroft Introduction: Glassborow’s technically accomplished body of work delights in the contrast between the weight of his materials and themes of lightness and fluidity. The solid, enduring quality of the bronze is used to counterpoint the apparent weightlessness of the human figure. Glassborow, who has worked alongside the Australian ballet, using many of its top dancers as his models, clearly communicates the sense that gravity- like other physical laws- is not inviolable.

Like a skilled magician, his work celebrates the magic trick of the imagination.
Yet like a magician compelled to reveal his tricks, Glassborow often deconstructs the process of creation. The figures are sometimes revealed in their unformed or half-formed states. For example, ‘point’ moves from an aesthetic that recalls the raw clay of the early modelling process, through a roughly finished and patinated green bronze, to the lush gold of the polished metal. The figure incorporates both naturalistic and mechanistic elements, creating a poetic juxtaposition between the material of antiquity and the imagery of the age of automaton. Find the full introduction here.


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