The Global Lead News FEB | MAR 2015 - Page 63

Perreault Magazine - 63 -


Rosamond works from her studio in Oxfordshire. She has established a reputation as one of the UK’s leading wildlife sculptors and is widely featured in both national and international press.

Born in 1973, Rosamond grew up in the south of England, enjoying a childhood set against the idyllic backdrop of both the New Forest and Dorset coastline. Inspired by her grandmother, a keen artist, her love of nature and an insatiable desire to create, Rosamond’s artistic endeavours were met with success from an early age, in various art and design competitions at local and national level.

Rosamond is passionate about conservation and has raised significant funds for conservation projects, in particular through the sale of her highly acclaimed African wildlife editions and in her role as affiliated sculptor to Tusk Trust.

Her sculptures are held in private collections in Britain, Europe, the USA and United Arab Emirates and she appears in the latest edition of the prestigious Who’s Who In Art, published by Morven Press.

BP: You are a conservationist and an artist, and we clearly see that you combine both passions through your work.

As an artist, when did you begin exploring the shapes, movements and elegance of animals?

RL: I was brought up in the South of England, in the counties of Dorset and Hampshire, with a childhood spent exploring The New Forest National Park, the rugged Purbeck coastline and the rolling countryside of English author and poet, Thomas Hardy. I was therefore both in awe of and acutely aware of my surroundings from a very young age, naturally developing a passion for wildlife. As a child I would use every opportunity to get closer to nature and I was fortunate enough to have a family that encouraged me. I still recall my father waking me before sunrise one misty morning to travel into the forest as we had found an active badger sett only a few days earlier and were intrigued as to its inhabitants.

The excitement I felt crouching quietly with my father, watching at close hand a family of badgers playing and foraging was overwhelming and made me forget how cold it was and how quickly time had passed. That same feeling has been replicated on all the occasions throughout my life so far that I have been privileged to observe wildlife, whether its watching a family of elephants crossing a clearing to get to the Zambezi River in Africa or a baby rabbit sitting in my Oxfordshire garden, ears alert and quivering. I store every observation in my mind, I think, plan and see in picture form and was encouraged through the study of art as a child and later, as an adult, to replicate my observations on paper and, ultimately, in clay.