Geoffrey Dashwood was born in Hampshire, England in 1947. At the age of fifteen he won a scholarship to study fine art at Southampton College of Art, but left after a brief period, preferring to study directly from nature. He worked in varied occupations to support himself and experimented in various art mediums and techniques in his spare time. His last employment was with the Forestry Commission, engaged as a keeper in the New Forest, where he also became the unofficial artist in residence for his employers. Dashwood left the Forestry Commission in his mid-twenties to pursue a freelance career in art and soon received commissions for illustrations and design work, whilst concurrently drawing and painting independently.
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In the 1980s Dashwood discovered a gift and a passion for sculpture. His earliest works were small, highly realistic studies in the mainstream of traditional English wildlife art and comparable in style to the famous 19th century French Animalier School of Sculpture. Although these early works brought him commercial success, he became increasingly dissatisfied with the constraints of realism and the lack of personal expression the genre afforded him.

Philip Jackson lives and works in West Sussex where he divides his time between producing gallery sculpture and public commissions. He has recently completed a major sculpture which is the central feature of a memorial to the 55,500 men of Bomber Command that died during World War II. It was unveiled in Green Park, London, on 28th June 2012 by HM The Queen.

Philip Jackson’s gallery works have the ability to convey the human condition through the skilful use of body language. Whether with robed, masked or faceless figures reminiscent of 18th century Venetian procurators, graceful, delicately poised works such as Saraband, or the prestigious, figuratively detailed monumental public social figures for which he is often commissioned, Philip Jackson’s work moves people. Imposing and operatic both in narrative and in their presence, Jackson’s works are powerful and beautifully sculpted.

Hauntingly elegant or theatrically enigmatic, individually or cloistered together, the meticulously precise posturing of the work creates an overwhelming sense of drama from which emanates highly charged emotions, secrets, conspiracies and intrigues.

Philip Jackson has produced some of Britain’s best known public sculptures including the figure of the late Queen Elizabeth, the Queen Mother for her National Monument in The Mall, which was unveiled by HM The Queen in 2009. Amongst his other works in London are The Gurkha Monument in Horse Guards Avenue, The Young Mozart in Orange Square, The In-Pensioner outside the Royal Hospital, Chelsea and the giant figure of Bobby Moore in front of Wembley Stadium. Works outside of London include the equestrian sculpture of HM The Queen in Windsor Great Park, the Falklands War sculpture for the Royal Marines at Portsmouth, St Richard outside Chichester Cathedral, Constantine the Great at York Minster and also Empress Elizabeth of Austria in Geneva.

Philip Jackson’s works are held in the finest public and private collections around the world, and can be viewed with Muse Sculpture Company Luckman Park, Wiltshire, and at major art and decorative fairs.

Her love of sculpture began when she was at school in Gloucestershire where she was very fortunate to have a great sculpture teacher, who saved her from the hot-house of academia and has been a great inspiration even to this day!  After completing a degree in History of Art at Manchester University, Jane spent her early career with a London firm of Fine Art Valuers and Consultants travelling and living abroad before returning to London to set up and run a recruitment company, which she then sold after a decade.

On moving to Dorset in 2013, she revived her love for sculpture inspired by her life long interest in wildlife, and the outdoors.  Jane is passionate about capturing the overall emotion and movement of animals and wildlife in her bronze sculptures. Her focus is to portray the character and emotion of each individual animal by using fluid, spontaneous and strong gestural strokes in any material she uses.  Jane does not shy away from the ugly –  as she says: ‘Ugly is beautiful’ and can create a statement of feeling through any subject she chooses, whether wildlife, domestic animals, equestrian or figurative.  Often working directly from life, she produces bronzes for both inside the home as well as garden pieces on a larger scale.