Four 3’ x 3’ sheets of steel, each with an exposed quadrant, were left one at a time in a field in Devon from equinox-to-solstice or solstice-to-equinox, for one of the four seasons.

Left exposed to the elements and any passing flora and fauna that might leave a mark, each panel diarises the climatic effects of it’s season.

When hung together, the resulting 6’ diameter circle is an abstract depiction of The Sun and was created, not only as we travelled around it, but by the journey itself. (Spring top right, then clockwise)

1840mm x 1840mm – rainwater on steel

Pic 1: Spring (May 4th – 46 days of 94)
Pic 2: Complete Piece

Produced over the course of the year, both TwentyTwentyThree (i) &  TwentyTwentyThree (ii) are abstract depictions of Earth and were literally created by the year itself. The twelve outer steel plates were exposed for a different month (January top left, then clockwise). The corresponding L shaped pieces were exposed for a season (Spring top right) while the central square had to endure the elements for the entire year.

Exposed for the same amount of time and in the same location, both pieces are obviously closely related, but maintain their own unique patina – a slightly different telling of the year’s story.

both pieces: 1250mm x 1250mm – rainwater on steel

Pic 1: TwentyTwentyThree (ii)

Pic 2: TwentyTwentyThree (i) Pics 3 /4 : TTT(i) details

The Calendar series (from 2022 and 2024) are abstract depictions of Earth and were created by the elements and climatic conditions experienced as we travelled around The Sun over the course of the year. As with the TwentyTwenty series, the twelve smaller steel plates represent a different month and were placed outside, exposed to the elements and any passing flora and fauna for the duration of that month. In all cases, the steel rusts and ages in direct response to what the elements throw at it, diarising the year as witnessed from a studio garden in West London. Exposed at the same time and in the same location, both Calendar 2022 i & ii while closely related, maintain their own unique patina – a slightly different telling of the year’s story. With different weather patterns at play and possibly recording the effects of climate change, Calendar 2024 was a much wetter experience all round.

Pic 1; Calendar 2024 – 1230 x 1230mm

Pic 2: Calendar 2022 (i) – 990 x 990mm

Pic 3: Calendar 2022 (ii) – 1230 x 1230mm

Pic 4: October detail

Pic 5: December detail

The Lunar Cycles series depicts The Moon in twelve of it’s Lunar Cycles over the course of a year. Each 240mm square plate has an exposed ‘Moon’ in its centre and is placed outside for the precise duration of a lunar cycle. What happens next depends on nature. How much rain, snow or ice forms, how long it takes to dry, how many leaves fall. All the elements play a part in weathering the exposed surface and creating its unique patina. Because of the relatively short exposure time, weather patterns and therefor the effects of climate change, can be read on The Moons’ surfaces.

Both pieces: 1490mm x 490mm – rainwater on steel (Top left to right Jan – June: Bottom right to left July – Dec)

Pic 1: Lunar Cycles 2022 detail – Jan/Feb  Dec/Nov

Pic 2: Lunar Cycles 2022

Pic 3: Lunar Cycles 2021

Pic 4/5/6: Lunar Cycles 2022 details – March/May/December

Pic 1: Four-Part Target – Autumn 2023 (366mm x 366mm)

Pic 2: Four-Part Target – Winter 2023/24 (366mm x 366mm)

Pic 3: Four-Part Target – Spring 2024 (366mm x 366mm)

Created in the same way as Targets, but keeping a mask ring and allowing the rust to bleed on to the paint, which also gets stained by falling leaves and  blossom.

500mm x 500mm – rainwater, sprayed paint on steel

Pic 1: Roundel 001 – 92 days: Oct/Nov/Dec 2023 (500mm x 500mm)

pic 2: Roundel 002 – 100 days 09/04 – 17/07 (500mm x 500mm)

5th November / 1st December 2020

A one off totem to every art gallery, museum, theatre, cinema, pub, restaurant, boutique and independent business that was forced to close over lockdown and left struggling to stay afloat for 27 critical days.

Every day a new square wedge was cast in concrete, released from its mould and stamped with the date and any significant headline before being placed, unfixed on top of the tower.

As a purely balancing structure, it became increasingly unstable and important to keep it upright and with some careful management it made it to the end.

Dimensions
120 x 120 x 1417mm

Pictured from top:
Day 1 (5th November) Day 7 (11th November) Day 17 (19th November) 3x Completed Tower (1st December) Unassembled Tower

Follow the progress on instagram @samrileystudio

A limited run of  plaster sculptures created during the first lockdown
23rd March / 04th July 2020 and mailed to 12 unsuspecting friends

Just like sandcastles, these were made as temporary sculptures. Cast in plaster and therefore relatively light, they would inevitably succumb to the elements and pick up chips and scratches along the way. After a fall, they were to be to rebuilt while possible.

By the end, each PlasterCastle would bare the unique scars of its own lockdown journey, just like the rest of us.