Several weeks out of the year, sculptor Colin Richmond leaves the comforts of his studio in the Blue Ridge Mountains of Asheville, N.C., to find inspiration for his next animal carvings.

“When I add breeds to my flock, I generally do it as a group,” said Richmond of Colin’s Creatures. “I start by learning as much as can in my own library and online. I then contact the sheep breeders associations, arrange visits with farmers or attend shows in the states and in the Europe.

“Before I visit, I carve a first draft animal, because it is easier to tweak a carving when I’m there than it is to work totally from photos.” Richmond always leaves a first draft porcelain sheep for his hosts as a token of his appreciation. Later, he recreates the details of their posture, their wool and their expressions through sculptures in his studio.

After years of studying these docile grazers, Richmond carves whimsical animals with realistic postures and endearing details.

“Nothing can replace seeing the sheep firsthand in the field,” Richmond added.

He said, “There are countless moments that I can translate into my artwork. The hill breeds’ long coats blowing in the wind – looking as beautiful as one would see in a hair product commercial. The farmers wrestling an ewe in the sun just so I can get the best photos possible. The clean and well-trimmed animal all ready for the county show. The deafening noise made by a barn full of baa-ing sheep. The kindness of country people who are always ready with a pot of tea. Other than the tea, it’s a big contrast from sitting in my studio. These memories and the smiles they bring to me keep me inspired.”

Richmond’s life often resembles a scene right out of the book “All Creatures Great and Small” by James Herriot. He revels in the time he spends in the green rolling hills of the United Kingdom. It not only gives him a unique perspective on his subjects but also on the area itself. A typical day is spent sitting next to an old stone wall, carefully studying hundreds of new lambs or chatting with the farmer in a 500-year old farmhouse after a ride on his ATV to reach the flocks in the high meadows.

“Whenever possible, I have the farmer hold the animal so I can get three perspective photos of the head,” Richmond said. “It depends on how cooperative the sheep in the field are. Certain breeds are more skittish.

“Sometimes the farmer sends a border collie out to bring the flock in closer. Other times, for skittish breeds, the farmer will entice them with a bucket of feed while I hide and photograph discreetly. I do the best I can with my zoom lens.”

Most artists don’t have the luxury of spending several weeks each year studying in places like the Scottish Islands, the Heaths of Northern Europe or, most recently, northwestern Italy. But as a former businessman and self-taught artist, he has found a way to make those trips worthwhile.

“A dozen years in the corporate world, an MBA and a brief stint in consulting were enough to drive me into independence,” Richmond said. “I started my business in 1985, and after three fabric-related product lines I had an idea for a collection of moiré fabric angels in 1991. For reasons I can’t explain, I decided they should have porcelain wings and heads although I knew nothing of porcelain or carving. Fortunately, I grew up in a creative family that assumed you could do anything.”

WHY ANIMALS?

The collection began with sheep in late 1991 when Richmond read a blurb in a magazine about some antique German sheep figures that were mixed media similar to his angels. He continued to add new breeds and positions with great pleasure, but thanks to new sources of fur and new production techniques, he strayed creatively from the sheep.

“It is fascinating to learn about different kinds of animals, not just the details of how they look but also the little behavioral oddities,” Richmond said. “My carving has evolved greatly and I have also developed a critical eye for shape and motion as well as a vision for the use of materials. I began carving bears and penguins years later, but as the sheep gained in popularity, other animals were put on hold.”

Richmond has since found more suitable fur and has recently introduced new creatures. “Bears and friends are a group of my most detailed work, and every animal takes considerable planning before I start carving. Each of the animals has opened up a whole new world to me.”

He has made hundreds of animals, including many wildlife and other farm animals, but sheep have always been the most popular.

“My business grew over the years to include four employees with distribution in over 800 stores nationally, plus a studio in England. I downsized in 2004 to shift the focus to carving, not managing people, and still enjoy maintaining a showroom at my studio in Asheville,” he candidly explained.

FROM IDEA TO ANIMAL

After thoroughly researching the animal, Richmond begins with a block of industrial-weight plaster in hand. He carves the head, legs and other appendages that will be porcelain first, to establish the size of the animal. Richmond then carves the body, but it must be roughly ¼-inch smaller than the finished animal to accommodate the fur, and the curves of the body must be accentuated too so they are not lost when the fur is added.

“I then make molds of each part and then cast, fire and assemble them. I use porcelain because it provides the detail needed to make an expressive creature,” he explained. “The body is made out of a castable stone for stability and for its wonderfully substantial feel (a 6-inch sheep weighs one pound.) The fur is the highest-quality woven fabric from Germany, and it is generally wool, mohair or alpaca.

“Occasionally, an idea comes from a fur sample that speaks to me, but more typically it comes from looking at every animal I see and with an eye for how I could recreate it,” he said. “I have become very good at modifying the texture, color and length of the available furs to suit my needs, but there are still some breeds of sheep whose fur is too long and textured for me to make.

“Every animal requires considerable planning before I start carving. When the legs and the head are covered with fur, so that only eyes, nose, mouth and ears show, it creates many challenges. The area where the porcelain transitions to fur is difficult to design, and when all that shows is the little facial features, it becomes more important because that is the focal point on the animal,” Richmond said.

WHY MULTIMEDIA?

“I carve all of the original creatures in parts, because each part can be made from a different material,” said Richmond. “I choose to design my animals with a mixture of materials—porcelain head and legs; hydrostone body; and ‘wooly’ fur because they are more visually appealing and more tactile than a solid porcelain animal. Also, many animals with their contrasting areas of wooliness and short hair or skin lend themselves to this method.”

Colin’s Creatures have become more than collections; they are decorative pieces, memories of rural travel and heirlooms for generations to come. They are appreciated for their beauty and time that goes into the craftsmanship. Richmond willingly shares his knowledge and passion with others. On his website there are photographs, in-depth descriptions of the breeds, the texture of their wool, the country of origin and even his own personal observations of the animals. He also welcomes visitors to his fully stocked craftsman style studio that neighbors the Biltmore Estate.

For more information on Colin’s Creatures his website or his Etsy shop. Richmond may also be reached by phone: (828) 215-6006.

Originally published in the Winter 2011 issue.