ABOUT
CASEY NADINE BANWELL
I’ve spent my life observing and making. Sculpture is the way I interpret what I see — studying detail, movement and character and translating those observations into three-dimensional form.
SCULPTRESS
THE SCULPTRESS
OBSERVATION INTO FORM
My work is rooted in observation, realism and an attention to detail, movement and character. I’m interested in more than simply reproducing what something looks like. I want to understand its presence — the subtleties of form, expression and individuality that make a subject feel alive.
My relationship with the natural world has always been an important influence on my work and continues to shape the direction of my sculptural practice.
I am a 15-time international award-winning sculptress, with recognition from the David Shepherd Wildlife Foundation, Artists for Conservation and The Wildlife Art Society International.
My work has been exhibited in major London galleries including Mall Galleries and OXO Gallery, and internationally at VanDusen Botanical Garden in Vancouver. My sculpture Protection was installed at 10 Downing Street and State House in Nairobi, while other works have been exhibited across the UK and internationally.
Recent recognition includes Best in Show — Sculpture and a Medal of Excellence from Artists for Conservation for Long Arm — Telling Leuser’s Story, alongside previous AFC awards, a David Shepherd Wildlife Foundation Badge of Honour, and recognition from The Wildlife Art Society International.
A LIFE OF MAKING
More than 15 years working professionally within the film industry taught me how to make almost anything.
Working as a sculptress within film meant constantly moving between materials, scales and disciplines — sculpting, moulding, casting, carving and constructing pieces that had to exist convincingly within someone else’s world.
It was an extraordinary education in making. It taught me how to solve problems, how to work at scale, how to understand materials and, perhaps most importantly, how to turn an idea into something physical.
Those years built the technical foundation behind the work I make today.
COMMISSIONS
Sculpture can begin with an animal, a memory, a story, a place or simply an idea.
I work with private clients, organisations and creative collaborators to develop original sculptural pieces, from the first conversation and initial studies through to the finished work.
If you have an idea you would like to bring into the world, I’d love to hear about it.
ART WITH CONSEQUENCE
Some of my work has developed a life beyond the sculpture itself — raising funds, supporting conservation, protecting habitat and telling the stories of individual animals.
This became After Charcol: the conservation arm of my artistic practice and a way of using sculpture to contribute directly to the things I care about.
