Harpers and Queen
‘A young sculptor showing promise with his strong and evocative equine creations is Nicolas Fiddian – Green. More of a modernist than Philip Blacker, after Eton he trainedat the Chelsea School of Art, Wimbledon College, and at St. Martin’s. He has set up his own foundry to cast his bold creations in bronze, and also carves in marble. He and his wife, Henrietta, a potter, have lived in Gozo and Malta, but are now based in Surrey.’
Robin Dutt, Art Review
‘Seeing a room full of Nic Fiddian – Green’s stupendous sculptures of horses heads and body parts is a treat indeed. His touch is masterly and assured, and his enthusiasm infectious. Some say they can see the artist in the very noble and classically inspired horses heads, and it is true – in part. In one sense, there is surely mustang beneath the skin. Fiddian – Green captures with a slicing honesty, the raw power of these chunks of musculature. He harnesses their flesh whilst not quite quelling their spirit. They are in attitude, in stance, proudly independent and just a mite unpredictable.’
Antiques and The Arts Weekly, New York
‘Nic Fiddian – Green’s expressive, almost romantic equestrian studies are one significant motif of his work; the tenor of these works varies from the reposeful and meditative to the vibrant and near violent. As with his illustrious predecessors, the training that led to his style has been a combination of formal art-college and private, passionate self-teaching, absorbing lessons both from art and from nature. Although he is still a relatively young artist, Fiddian – Green’s career has already been a dedicated pilgrimage, in terms of style, technique, vision and philosophy. Working in the Mediterranean and in Britain, he has evolved a sculpture of the human form alongside his animal subjects. Here, too, he is in accord with the great tradition of animal sculptors, all of whom sought to extend their appreciation of life to include humanity. In particular, Fiddian – Green has made spiritual , religious works – crucifixions, heads of Christ, Stations of the Cross and iconic renditions of sacred faces and figures. These again owe something to the past, but in their directness, power and emotional depth are truly modern.’O
Judith Brook, Surrey Life
‘Casting is a meticulous process. First, the image is created in clay and then a rubber mould with reinforced plaster is made around the clay. Wax is poured into the mould and removed. Then, a ceramic mould is built around the wax. When its dry, the wax surrounded by the ceramic mould is placed in a furnace around 800 degrees Centigrade; the wax is melted out and the mould is simultaneously fired. Bronze is then melted at 1100 C and when its ready it is poured into the ceramic mould. When it cools, the mould is smashed, revealing the bronze.
While I was at Nic’s Studio, the rubber was being lifted off a cast bronze. This seemed to me a moment of release and fulfilment, especially as the sculpture was a Head of Christ awaiting his crown of thorns. This gave me the chance to look more deeply into the face with the half closed eyes. For me it perfectly conveyed peace after suffering. Fiddian – Green has been affected by a pilgrimage he undertook, to Medjugoria. This is a small village in Yugoslavia where it is said Our Lady first appeared to a group of children. It has nowbecome the focus for pilgrims from all over the world. One of the consequenceshas been the installation of the Stations of the Cross at Wintershall which Nic helped to plan with his wife, Henrietta. He carved the face of Christ, which is known as The Veil of Veronica, in marble and is one of the most arresting. A similar relief in bronze, The Shroud, is in an edition of two, is equally arresting. Nic Fiddian Green’s personal sensitivity and his innate privacy and depth of feeling come through in all his work.’
Time Out Magazine.
‘At 11 feet tall and weighing in at around a tonne, this bronze horse’s head was too large to fit into the gallery where its creator was holding an exhibition. So sculptor Nic Fiddian – Green managed to persuade Ropemaker Properties, the owners of Berkeley Square in Piccadilly, to allow him to put ‘Monumental Horse in the Wind’ there instead. If Westminster council grants planning permission, the £500,000 piece will grace the square for 6 months. When the sculpture is installed, it will not be the first time Berkeley Square has been adorned by an equestrian work of art. A statue of George III mounted on a charger used to stand in the square, but disappeared many years ago.’