Appearing as a knot forming itself in space, the process of adapting and making across 2D and 3D space led to a clear link being made between the intention and materials of the artwork.  ‘Entanglement’ can be seen as an instruction manual for itself, merging the languages and materials of painting, sculpture and process.    


The original image of the piece first emerged in Lanyon’s painting, ‘Blood Knot’. Working with Studio Reckoner LTD, we digitally extracted the information from the painting and began to re-visit the artwork as a digital sculpture.


Once the digital sculpture was completed, it was directed into casting components. The complex multifaceted arrangement of the hands and rope at the top of the sculpture meant 3D printing and casting from a PMMA pattern was the appropriate casting route.


The middle, flat section of the artwork was more suited to sand casting, but due to the intricate detail of the design & undercuts, a 3D printed sand mould was chosen to be the best casting method.

This is the first sculpture in the UK to combine both PMMA casting with 3D printed sand moulds.  The work will be on public display in ‘The Collection’ at Squire & Partners from 1st May 2019.


Get in touch with any queries at info@londonbronzecasting.com