Grant Palmer
Citing both a child-like naivety and a very particular sense of humour (evolved from a youth spent in the Midlands, dare we say it), when attempting to explain how his own personality plays out through his much-celebrated contemporary figurative sculptures, the man-of-the-moment (and destined to remain in much demand going forward), Grant Palmer loves nothing more than when he’s witnessing the interactions – fleeting and otherwise – of unique characters which he readily believes brings out his witty side. And moreover, reflect (in three-dimensional guise) the humour and warmth conveyed by any given scenario he routinely observes as he goes about his business. When put on the spot to name drop any particular artists who have influenced him and his work, the hugely popular (yet still in many ways, up and coming) Palmer doesn’t hesitate in mentioning revered British observational fine art exponent, Beryl Cook.
Indeed, it’s her affectionate illustrative translations of the social ways and means of ordinary, everyday folk which made her a compositional tour de force for many decades; and who has clearly inspired Palmer the more time you spend in his company. Another character-regaling and graphically amplifying artist whose back catalogue also seemingly provoked a creative surge in a younger, more formative years Palmer was one L.S Lowry; and there’s parallels to be drawn with the famous matchstick man’s signature works of art for sure, when scrutinised side by side. According to Palmer he owes quite the debt to the modern master, who first practised one of the pictorial highlights of recent collections by the would-be sorcerer’s apprentice; most notably the everyday characters of football crowds and factories, which Palmer has also turned into art of the highest order. Elsewhere, Palmer makes no bones about being hugely influenced by the patrons of his local pub; all no doubt colourful types with numerous stories to tell.
Palmer’s road to professional contemporary sculpture recognition began back in his formative years in his native Midlands, when he chose to study Sculpture and Ceramic Design at North Staffordshire University, while his next step into the world of work (and with it, creative enlightenment) paved the way for where he finds himself today. That move was to the Design and Modelling studio housed within the legendary (and hugely historic) Royal Doulton Burslem factory; geographically positioned where else, but at the very epicentre of the fabled ‘potteries’. Jumping forward a few years, Palmer quickly established himself as a creative force to be reckoned with on leaving Royal Doulton and deciding to go it alone, so to speak; subsequently forging an enviable reputation for his 3D figurative works based on the quality and ingenuity of each and every piece. Be the subject matter people, football or animals; all of which have been covered with aplomb to date, and dipped – if not fully immersed at times – in lashings of nostalgia and value-added whimsy/sentiment.
He must have done something right, as since turning pro, clients in America, Australia, China and Russia has clamoured for Palmer’s original and limited edition creations, while he’s also been invited to mould a bust which is the likeness of one of the most celebrated recording artists and actors of his generation and many thereafter, namely Frank Sinatra. Meanwhile Palmer has also been installed as artist in residence at a number of institutions of note, including Aynsley Design House, Cosgrove Hall and Aeddonate; the latter being a heart health charity.
Indeed, it’s her affectionate illustrative translations of the social ways and means of ordinary, everyday folk which made her a compositional tour de force for many decades; and who has clearly inspired Palmer the more time you spend in his company. Another character-regaling and graphically amplifying artist whose back catalogue also seemingly provoked a creative surge in a younger, more formative years Palmer was one L.S Lowry; and there’s parallels to be drawn with the famous matchstick man’s signature works of art for sure, when scrutinised side by side. According to Palmer he owes quite the debt to the modern master, who first practised one of the pictorial highlights of recent collections by the would-be sorcerer’s apprentice; most notably the everyday characters of football crowds and factories, which Palmer has also turned into art of the highest order. Elsewhere, Palmer makes no bones about being hugely influenced by the patrons of his local pub; all no doubt colourful types with numerous stories to tell.
Palmer’s road to professional contemporary sculpture recognition began back in his formative years in his native Midlands, when he chose to study Sculpture and Ceramic Design at North Staffordshire University, while his next step into the world of work (and with it, creative enlightenment) paved the way for where he finds himself today. That move was to the Design and Modelling studio housed within the legendary (and hugely historic) Royal Doulton Burslem factory; geographically positioned where else, but at the very epicentre of the fabled ‘potteries’. Jumping forward a few years, Palmer quickly established himself as a creative force to be reckoned with on leaving Royal Doulton and deciding to go it alone, so to speak; subsequently forging an enviable reputation for his 3D figurative works based on the quality and ingenuity of each and every piece. Be the subject matter people, football or animals; all of which have been covered with aplomb to date, and dipped – if not fully immersed at times – in lashings of nostalgia and value-added whimsy/sentiment.
He must have done something right, as since turning pro, clients in America, Australia, China and Russia has clamoured for Palmer’s original and limited edition creations, while he’s also been invited to mould a bust which is the likeness of one of the most celebrated recording artists and actors of his generation and many thereafter, namely Frank Sinatra. Meanwhile Palmer has also been installed as artist in residence at a number of institutions of note, including Aynsley Design House, Cosgrove Hall and Aeddonate; the latter being a heart health charity.