Editorial Feature
‘TIMBERLINE’ - THE ANCIENT FARMING TERM FOR THAT POINT AT WHICH THE WILDERNESS AND OPEN COUNTRY CROSS OVER, TO FINALLY MEET CIVILISATION.
TimberlyneI,VII,VI,III ( L-R) Boxedcanvas Editionof9 ImageSize29½" x48" FramedSize32½" x51" £1,350
� Timberlyne
BronzeSculpture Editionof75 Size9”x17½” £1,950
lthough Craig Davison’s iconic style is instantly recognisable in his new collection, Timberlyne represents a departure fromhis previous work andwas for him “a leap of faith,” in terms of characterisation and context. At the centre of
the collection is a little girl steering a bison through the wilderness, seemingly rendered vulnerable by her size. Yet, despite her small stature, she radiates strength, energy and power – a spiritual embodiment of the earth. “I don’t knowexactlywhere she came from inmy imagination, but she is a determined child and I really liked the idea of juxtaposing this tiny childwith this great big 'bison on steroids' typemammal,” laughs Davison, who says the name for the paintings and sculpture originated from the basic word ‘timberline’ - the ancient farming term for that point at which thewilderness and open country cross over, to finally meet civilisation. There are elements of the cartoonish here, and it is no coincidence that Davison began his career working as a cartoonist, designing pre-school comics, before becoming an animator and games designer where he started sculpting reference figures for 3D animation and subsequently signing to Castle Galleries. “The idea for the Timberlyne collection came about when I was walkingmy dogs in the woods” says the artist whoworks fromhis studio in the hills of Worcestershire. “I cannot explain it - it's down to the viewer to guess what the relationship between them is,
38 FIN e ARTC o LL e CT o R SPRING2016
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