The Royal Society of Sculptors has grown substantially since it was first founded in 1905, going from a membership of 51 to over 750. The majority of our members make a lifetime commitment to the Society, and we are delighted to celebrate Fellows who have been with us for 40 years or more! 

After attending Wolverhampton College of Art in 1955, Professor Glynn Williams FRSS worked at the British School in Rome until 1963 following his  British Prix de Rome scholarship. In 1976, Glynn became Head of the Wimbledon School of Art Sculpture Department, before moving to the Royal College of Art, London, where he became Head of Sculpture in 1990 and Head of the School of Fine Art from 1995 to 2010. He is a Fellow of Royal College of Art, the Royal Society of British Sculptors, and the RSA. During the 1970s he made primarily abstract sculptures, including crate-like objects in wood, but later in the decade he began carving stone figures.

WHO WAS THE FIRST PERSON TO ENCOURAGE YOU TO BECOME A SCULPTOR? WHAT DID THEY SEE IN YOU?

Tom Wright (1899 -1962) the sculptor who had also served as a pilot in World War 1 and 2, was my teacher at Wolverhampton School of Art. Tom was a stone carver and he had a huge influence on me becoming a friend later. I own a piece of his work that he bequeathed to me.

WHO WAS YOUR MOST INFLUENTIAL TEACHER?

Two teachers, Tom Wright and John Paddison (Paddy) also a stone carver at Wolverhampton School of Art. Paddy and I shared a yard together, I worked alongside him outside under canvas.

HOW DID THE MARKET RESPOND TO YOUR WORK? 

It didn't really in the early days. After the Rome Scholarship when I worked at the British School in Rome around 1963, I started getting attention which started my exhibiting career.

WERE YOU PART OF A PARTICULAR GROUP OF ARTISTS? 

Not really. The closest was when I taught at Leeds College of Art in the 1960s and 70s and was around sculptors and artists who taught there

Glynn Williams FRSS, The Priest 1963
Glynn Williams FRSS, The Priest 1963

DID YOU DEVELOP YOUR PRACTICE IN SOLITUDE OR WITHIN A GROUP?

In solitude. I liked working on my own.

WHAT WAS YOUR BIGGEST HELP? 

Having a domestic and family life.
 
DID YOU DREAM BIG OR DID ‘BIG’ SCARE YOU?
Nothing scared me. My belief in my activity was strong, it gave me strength.
 
WHAT IS YOUR FAVOURITE COMMISSION / SCULPTURE YOU HAVE WORKED ON?
It is a 14 feet tall bronze work called The Flowering of the English Baroque (1994), a Memorial  to the composer Henry Purcell that was commissioned by Westminster City Council and is sited Victoria Street, London. 
 
All commissions are listed on my website https://www. glynnwilliamssculpture.com
Glynn Williams FRSS next to his public art commission, The Flowering of the English Baroque (1994) a memorial to composer Henry Purcell
Glynn Williams FRSS next to his public art commission, The Flowering of the English Baroque (1994) a memorial to composer Henry Purcell

Glynn Williams FRSS' Gateway of Hands, 1992

Glynn Williams FRSS Gateway of Hands 1992

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