The model was then cast in plaster to create a stable model or ‘maquette’ to serve as a guide for the carving process. Once the model was resolved and the clients satisfied, a silicon mould of the model was fabricated. Once the concept and design was decided upon a full size clay model of the gargoyle was worked to ensure every detail had been resolved. Sketches and drawing are the quickest and most direct method of experimenting and expressing ideas below is an early concept sketch of the gargoyle design. The natural features of the Daubenton’s Bat were abstracted with stylistic reference to the existing Gargoyles and the Gothic style in general. This particular species with its large hairy toes and curious dynamic forms found on its ears lent itself well to expression in the Gothic Style. The tender submission included concept drawings and models together with a statement describing the influences and what made the piece’s design fit within its setting.Īfter extensive research Tom based his unique design on the Daubenton’s Bat, an endangered species local to the Cathedral on the River Skell. The brief was to create two new works of art to grace the Cathedral parapet a piece sympathetic to the history and style of the building and which conveyed the spirit and intent of the medieval stone carvers’ work. War Centenary Cathedral Repairs Fund Tom was asked to carve his Gargoyle design. In 2015 Cathedral Architect Oliver Caroe RIBA AABC of Caroe Architecture Ltd (the architect to Ripon Cathedral) invited selected Tom Nicholls to carve two new replacement gargoyles for Ripon Cathedral.įunded through a grant from the Cathedral Fabric Commission for England’s (CFCE’s) First World Tom Nicholls wins the Ripon Cathedral Gargoyle Competition 2015
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