Ian Middleton

Ian Middleton studied at the Cambridge Institute of Education St.OC, Sheffield College of Art and the Royal College of Art (RCA major travelling scholarship). He worked  with Eduardo Paolozzi before moving to Dorset. He casts his own bronzes and in 2013 did a casting fellowship at Chelsea UAL, the following year Ian was elected an RWA then a Council Member for six years.

He’s taught in a number of British Art Schools including Cardiff, Edinburgh and the Royal College and taught sculpture at the University for the Creative Arts Farnham 1988 - 2005.

Ian Middleton has shown extensively in the UK and abroad: ‘One Man’ exhibitions include the Barbican Centre and Winchester and Norwich Cathedrals. Selected shows include ‘Remains to be Seen’ Institute of Contemporary Arts, Toyamura International Sculpture Biennale Japan, ‘Metaflux’ Royal College of Art, 20thC British Sculpture Millfield Street, Gallerie Ellison Marshall Bordeaux, ‘Sculpture a Spectator Sport’ Bryanston Park, and Iron Tribe in New Mexico USA.

He’s organised several contemporary sculpture exhibitions including the recent Open Sculpture show at the RWA where he shows regularly. Ian has exhibited at Wells Art Contemporary and ING Discerning Eye where he was awarded the prestigious Founder’s Prize in 2022.

"The object of art is not to reproduce reality, but to create a reality of the same intensity."

‘I agree with this quote by Alberto Giacometti, I'm interested in current affairs and the forces which shape our lives. Media images, news clips or junk shop finds may be my starting points, perhaps making a connection with something seen or found earlier. My work is modelled or constructed and some elements are carved in wood, it usually includes 'found objects' chosen for a particular 'presence', association or familiarity, I may make  modifications or re-make them to change the scale. I make moulds to cast  plaster, cement resin or wax (which I cast myself into bronze), and use a 'cut and paste' process to build assemblages. Casting enables me to  select materials for substance, colour, or surface and  gives the option of repetition. I work intuitively,  and sculptures evolve  through arrangement and juxtaposition in the studio. The work is not constrained by initial starting points but evolves independently while maintaining the intensity of its origins.’