Tom Hiscocks – Creator of the Queen’s Beasts

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Intrigued by his sculptures of the Queen’s Beasts, Frances Follin asked Tom Hiscocks about his work.

In June and August Cassone we carried news items about The Queen's Beasts, a set of re-imaginings of the heraldic animals made from recycled materials by sculptor Tom Hiscocks. We wanted to know more.

Frances Follin: How did you start as an artist? What was your training?

Tom Hiscocks: I have always drawn – ever since I was quite small, it was the only subject at school that I could do with any degree of proficiency. I got an A at O level and at A level, but I didn’t follow the artistic calling then as my competing passion was for horses. I went to work in horse racing after school – although I made more money painting people’s horses than riding them!

I returned to art seriously as a ‘mature’ student just over 3 years ago. I attended a three-month summer school at the Slade School of Art in London. That really inspired me and confirmed that exploring issues through art is where my interest lies.

Since then I have undertaken a three-year BA in Fine Art at the Cambridge Art School.

FF: How did the commission for the Queen’s Beasts come about?

TH: I was not commissioned to make my interpretation of the Queen’s Beasts, I was compelled to do it. I am interested in the ideas of identity and expression; how we are seen and how we are perceived (by ourselves as well as by others).

When I visited the replicas of the original beasts in Kew gardens, I was struck by their rigidity and solemnity. They had been created for a particularly formal occasion 60 years ago, but they had other sides to their character that I felt strongly they wanted to express. I think it resonated with my own feelings of having played a role dictated by my response to circumstance, rather than freely expressing myself – so I felt compelled to give these beasts an alternative expression.

FF: I believe the originals are now in Canada – did you visit them?

TH: The originals are in Canada, but replicas, made of Portland stone by the same original artist, are positioned in Kew Garden. It was these that I visited.

FF: For your sculptures do you work exclusively in recycled metal or do you use other recycled and/or virgin media?

TH: I make armatures from black steel rod, which is not necessarily recycled. The same is true of the galvanized steel wire mesh that I use to create the surfaces, but otherwise everything is reclaimed. I used about 2500 used drinks cans for the beasts, but I also sourced other materials from scrap yards – lead; a copper water boiler; some old bed springs; car bumpers and headlights and an old fire extinguisher.

I am interested in the intrinsic beauty of much of the material that gets thrown away, and I wanted to explore how this could be given a new form of life.

FF: Do you feel that artists can make a real difference to how people perceive ‘green’ issues?

TH: I think there a huge range of ideas and initiatives that create awareness of particular issues, and art, and artists have always played their role in this. The ‘green’ issue is very current, and I have been very struck by the very positive response that people of all ages have expressed in response to seeing the beasts.

FF: Is painting or sculpture the more important to you?

TH: That’s an interesting question. All forms of artistic expression are important, and each comes with different intrinsic characteristics. I am always fascinated to see how different artists use their materials to underpin the point they are making. In the case of the Queen’s Beasts, I felt that 3D was important, and I felt that reclaimed materials were important, so for this project sculpting seemed to be an appropriate form of expression.

I love painting but at this stage I think the issues I am looking at lend themselves to a sculptural response.

FF: Is any of your other work on public display? Where might people see it?

TH: I am fortunate that much of my work hangs in the homes of some special people, but there is no other work on public display at the moment. I hope that will change as I create more sculptural pieces.

FF: You have been keen to engage ordinary people directly with art. How did your ‘Instant art’ days come about and what do they entail? Are more planned soon?

TH: ‘Instant Art’ came from a conversation with people about their perception of having limited creative capability. I believe there is a creative streak in all of us, but like most things it has to be accessed and developed. ‘Instant Art’ is basically about playing with paint. I wanted to find a means for people to engage with paint without having to hear the voice in their head telling them they couldn’t do it.

What gets created is a direct reflection of the character of each participant. When you stop trying to re-produce something that is observable ‘out there’, your creation becomes a reflection of what’s inside. It’s an image of all the decisions you made in the process of creation, and this reflects much more of the sub-conscious. It is great what can happen when you stop your mind getting in the way!

FF: Thank you for talking to Cassone – do let us know when you have any exhibitions or other events.