Derek Morris, who was President at the time, was giving a talk about the Royal Society of Sculptors and the advantages of belonging to it at Wingfield Arts, which is quite near me, in the summer of 2002. I hadn’t seen him since I left Norwich art school in the late ’70’s so I went to hear what he had to say. Afterwards I thought it might be worth a submission and I was successful - a truly joyful day. Finally belonging to a club.
I probably didn’t go up to an AGM for a year or two but, when I did, I was struck by the ornate facade on the front of the building. Very much a Dutch influence there and, later on, in a break during proceedings, by the number of members smoking beneath it. A thing of the past now.
Though, of late, the trips up the Old Brompton Road aren’t so frequent (past the Lamborghini and the Shell garage) because of the rise in the use of Zooms and webinars I have been given the opportunity to strike up virtual friendships with fellow members which I quite enjoy.
About the Post Pandemic Apron (pictured above)
The apron has many messages some of which are conflicting.
During the first lockdown we were told to stay at home which, for many, was a painful time of constriction.
I have always seen the apron as a symbol of servitude but, with my concern for the environment, I am aware that when I am wearing it I am protecting the clothes underneath which might otherwise have had to be washed. Ergo less washing and less water used.
So maybe not such a bad thing……?
Mary Anstee-Parry MRSS, February 2026
I studied sculpture at the Norwich School of Art and Design and later went to the City and Guilds of London art school and have since been made a notable alumni. This sculptural career has given me the opportunity to take on commissions both in lettering and sculpture. I have taught traditional woodcarving and letter carving both at colleges and privately. I have worked with Guildford Borough Council carving two signposts to highlight two areas of Special scientific interest on the River Wey. An Epiphany Madonna for St. Edmundsbury Cathedral and a Millennium sculpture trail for a National Nature Reserve are two other memorable commissions.
In the past I have worked primarily as a carver in stone and wood and for the last two years I have worked on a series of very traditional oak panels for a private client but In the gaps of time between working on these commissions and as antidote to this extensive carving of wood I have experimented with more ephemeral materials such as copper, fabric and paper.
Ahead of the Year of the Home in 2026 when we celebrate the Society's 50 years at Dora House, we asked members to share with us their personal memories of Dora House. We will be sharing them throughout 2026 as part of a programme of this milestone, marked also by the delivery of our project Creating a Home for Sculptors. If you have a memory you would like to share, you can still do so via this link.
