Contemporary ornamental carving
- Clunie grew up in a country full of ornamental carving
- She loves accuracy and technique in her profession
- She handles chisels as woodcarvers did hundreds of years ago
Clunie Fretton began carving in 2012, before setting up her practice with her partner Felix Handley in 2016, and quickly became interested in a variety of traditional techniques. People usually think that carving is a ‘male dominated’ craft, but the gender demographic is according to her actually fairly equal, especially in the younger generations. She handles chisels in the same manner as woodcarvers did hundreds of years ago and uses the same materials and methods for gilding, restoration and sculpting, that have been used for centuries. Clunie always wanted to work in a traditional craft. Ornamental tradition that prized accuracy and technique rather than simply artistic concepts is exactly the direction she took when choosing her profession. She finds this tradition the most beautiful and you can definitely sense it from her work.
INTERVIEW
The exceptional work from the past which is on display in cathedrals, churches, and museums. Often the smallest carving, by an unremembered sculptor, can be the most beautiful.
I work within the English ornamental carving tradition, especially when it comes to restoration, but I also look to what can be done with carving now, in the modern era, and how we as contemporary carvers can continue to grow the craft.
The European ornamental carving tradition has very strong roots, and particular styles and types of ornament have developed in each country where it was practiced. I have grown up in a country full of ornamental carving, and it is this tradition that gives me inspiration.
The most memorable moment was when I worked on the restoration of Guildford Cathedral’s Children’s Chapel. My partner Felix Handley and I restored the paintwork and gilding there in 2018, and it was a very moving experience to see how many people came there to remember children who they had lost.
