This mammoth symbolises the colossal power of meltwater during the ice age that brought stone from across the country to the local area, where it is still quarried today.
The surface metal shapes are inspired by a "braided river" system which was the principal force that shaped the surrounding landscape during periods of melt. The sculpture is based on a life-size Steppe Mammoth, the largest mammoths that have existed, and which roamed this area of Essex over 200,000 years ago.
The sculpture was made by overlapping curved steel plate shapes with stainless steel gravel cages, highlighted with helical stainless steel tusks and polished quartz eyes. The landscaping is graded up to the metalwork, creating a smooth transition as the sculpture rises up from the surrounding parkland.
Uplighters were made to match the rusty sculpture surface.
Installation
The height of the mammoth meant the only way it could exit the studio doors was by rolling it out in a tipped forward position. Once it was craned into position on site, gravel was gathered from the nearby quarry and used to fill the mesh cages around the base. Soil was bulldozed up to cover the foundations and landscaped to create the desired slopes, then cultivated to match the surrounding parkland.
Installation was completed in October 2024.
Fabrication
The surface metalwork is supported by an internal frame, made in three sections which enabled the sculpture to be managed during fabrication. Sculpting began with profiled steel curves being bent to shape and welded together to form the stylised "braided river" surface. The gaps between were then traced and plasma cut from thinner metal, which were pressed and internally welded in place.
The structural frame went right up to the studio ceiling, which required the mammoth's head to be sculpted separately. Tusks were made from short sections of rolled stainless steel tubes, angled to approximate the helical curves. Once the head was sculpted the sculpture was disamntled, moved, then reassemebled in the loading bay.
Cages for the gravel-filled sections were made from stainless steel mesh and set in the gaps between the lower steelwork. The internal structure had a zinc coating applied, then finally the trunk was sculpted to complete fabrication.
Design
Initial community engagement produced a wealth of ideas that built on the geological themes. After a period of experimenting with polished stone, cast glass and sketches, the idea of a part-earthwork, part-sculpture artwork took hold.
This was a superb fit with the themes and the parkland setting, and I loved the idea of people being able to engage with the sculpture up close.
Measuring from maquettes, a simple digital model was made from which the internal steel structural elements were designed and analysed.
Engagement
Before any work on designs I ran a programme of research and engagement with local residents, ranging from discussions to hands-on sculpture workshops. GeoEssex led a walking tour of Channels highlighting ice age features and brought along many fascinating samples including real mammoth hair!
These engagements fed into the design process, incorporating the current, recent and ancient histories of Channels park.
Many thanks to everyone who participated.
Belsteads School: Plaster casts of miniature braided river systems.
Little Waltham Primary School: Small-scale card sculpting.
Chelmer Valley High School: Large-scale card sculpting.
Channels residents: Pebble casts and consultation.
GeoEssex: Led public tours and provided specialist advice.
Bulls Lodge Quarry: Donated stones.
Broomfield, Little Waltham and Springfield Parish Councils: Discussion and feedback.
