Ashken, Tanya
Tanya Ashken (Artist Statement)
My early life and schooling ultimately had a big influence on the kind of sculpture I make. It was at Dunhurst, the junior school for Bedales (the co-educational boarding school in Hampshire, England), where I started to use my hands. We were all taught woodwork, and much else by an inspirational teacher. At Bedales my interest turned to silverwork and by a twist of fate I gained my own hallmark at the age of thirteen. This interest continued and on leaving school I went to the Central School of Arts and Crafts to study silversmithing.
My main interest in life was animals and birds and all through my school years I would go bird watching. I’ve always seemed to have known about the Albatross, even from a very young age. Perhaps, I was one in my last life!
Having worked with wood and silver and gold, I have a great respect for the beauty of the materials that the earth produces. Although I did enjoy making objects in silver, silversmithing became rather restrictive. So when John Drawbridge[1] and I got married in 1960 and we went to live in Paris for a year, I thought I’d have a go at sculpture instead. Stone carving appealed, as it would mean that I still had a hammer in my hand and could continue to work with a hard material. The Atelier del Debbio in the Impasse Ronsin, off the Rue de Vaugirad, was run by a half Italian Frenchman. He had two rooms. In one of these a few mature stone carving sculptors shared the space with four or 5 students. It was a good atmosphere to be in, and to learn something of life as an artist.
In the same complex of studios was that of Constantin Brancusi[2], the famous Romanian sculptor, who had died only 3 years before. By peering into high up windows, standing on blocks of his uncarved marble, I was able to see down into his impeccably arranged studio: WOW! My life changed from that moment.
A number of my works reflect creatures of the sea. Where I live in Island Bay, the sea is over the road and inevitably has a big influence on my work. I allow my subconscious to dominate my sculpture, especially the carvings, although conscious thought and subconscious work together when I’ve got a particular idea to reveal. There are some works when I very consciously try to get my feelings across about how badly Homo sapiens treat other creatures on this planet.
[1] John Drawbridge (M.B.E., Honorary Doctorate, Massey University) New Zealand artist (1930 – 2005). Notable works include a 40 meter long Beehive Mural in the Banquet Hall, New Zealand Parliament, the Expo ’70 Mural for Osaka, Japan, now housed in the foyer of the NZ National Library, the 15 meter long mural for New Zealand House London, UK, now housed in the NZ National Archives Building
[2] A reconstruction can be seen at the Pompidou Centre in Paris, France.
