Charles Hazzard is a fine art sculptor whose studio practice is situated in the Vale of Evesham, Worcestershire. He has exhibited widely at national exhibitions, held the position as the Henry Moore Sculpture Fellow at Loughborough University for a three-year term and has been the recipient of awards from Arts Council England. The monograph publication documenting the sculptor’s work, entitled: Charles Walker Hazzard, Sculptures, Structures, Drawings as funded by Loughborough University, is to be published in September 2011. The sculptor is a Fellow of the Royal Society of British Sculptors, Brother of the Art Workers Guild, and an ordinary member of the Design and Copyright Society. His work may be viewed at the artist’s web site:

The artist is a traditional sculptor, meaning he undertakes the practical creation of his works; his figure sculptures are modelled in clay from observation of the life model and he explores issues affecting the human condition. The artist has produced a series of yoke-like wooden and mobile structures whether positioned hanging from the shoulders of his figure sculptures cast in fibreglass resin or in the latter case, within the built environment. In all cases the wooden structures show a degree of craft and artistry created in response to the architectural surrounding or in the case of his figure sculptures, the subject’s cultural, mental, physiological or biological condition.

Much of the artist’s recent work has been concerned with the investigation of hospital procedure involved in childbirth, the Down’s syndrome condition and forthcoming, the Bi-polar condition. Within these works the wooden assemblies have been designed to illustrate certain aspects of the activity or cause of the condition explored.

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Image Gallery


Title: Twins

Dimensions: Life-size figure sculpture with Yoke-like assembly

Media: White Resin, Wood, Life-size

Description: This work as with The Kick Inside is concerned also with pregnancy. This piece possesses a surreal quality, beyond that usually indicated by the over scale of the wooden assembly. The oversize of the unborn twins, displayed as outside the womb, seen as cradled in the hands of the soon to be Mother, highlights the surreal presence of the work. The wooden surround illustrates the uterus with dual replete embryonic sacs.

Angel of Dresden  February 13 14 1945

Title: Angel of Dresden February 13 14 1945

Dimensions: Life-size figure sculpture with Yoke-like assembly

Media: White Resin, Wood

Description: This work refers to the bombing of Dresden in the late stages of the Second World War. I was affected by both the loss of human life and of a European cultural heritage of fine urban planning destroyed in the onslaught of fire and bombs - indicative of such events as inflicted by both the Allied and Axis Powers against each other during the War: I meant to capture the heroic overtones of this episode in my piece. I wished to read into this work, the figure sculpture as an intercessory angel between those still alive amongst the destruction, and the terror raining down from the aircraft overhead. The ascending angle of the apparatus from rear to forward of the figure, and oblong attachments to the assembly either side of the figure sculpture, suggests a primitive flying apparatus not capable of actual, but of symbolic flight. The huge circular drums, I imagine as voices of the vanquished. The piece can be further read as a carriage of memories of the deceased to the afterlife.


Title: Connections

Dimensions: life-size figure sculpture with Yoke-like assembly

Media: White Resin, Rope, Wood

Description: Again with much of this early work gesture and poise are stressed as well as the concern of detachment from both the immediate environment and those about the subject. The figure sculptures are positioned facing away from each other, engaged in seemingly separate pursuits. However, their relationship to each other is maintained by the interlocking loops of rope and the "life-size figure sculpture with Yoke-like assembly" of their platform on which they stand. See that the visual vocabulary of rope, wood, colouring and the kilts of the figures, are reminiscent of my visits to the Egyptian section, of the British Museum that year


Title: Hermes

Dimensions: life-size figure sculpture with Yoke-like assembly

Media: White Resin, Rope, Wood

Description: This piece utilizes the wooden surround to illustrate the wings of the Greek god, Hermes, here absent from the ankles of the subject: however suggested by the upwards spiral path of the wings seen ascending the structure forward of the figure sculpture. These oblong features remind one of radiating chapels seen in plan, around the Apse of a medieval church. The slabs hanging from these protrusions are coloured, representing vices or virtues. I imagine Hermes, the Angel of the gateway to life’s journeys, reminding us of our own freewill to choose either of these qualities.

The Kick Inside

Title: The Kick Inside

Dimensions: Life size sculpture with wooden yoke-like assembly

Media: White Resin, Wood, Life-Size

Description: This piece explores the current interest of how the unborn baby within the womb achieves an understanding of its outside environment, by way of sound penetrating the belly wall. This is illustrated by the Mother heavily pregnant, shown positioning a wooden slab next to her belly and tapping it with a stick. In response, the baby kicks within her womb. In return the Mother's facial expression is a mixed response of surprise, shock and delight.

St  James the Less Assembly for Light

Title: St James the Less Assembly for Light

Dimensions: 9' x 12' x 13'

Media: Beech, Maple and Mahogany

Description: The placing of the Lantern within the church nave was to emphasize a symbolic notion, whilst its function was to light the church, it is meant to be read as a formal and spiritual response to the Altar situated at the eastern end within the Apse. The altar within the church plan of the Latin cross is meant to symbolize His presence, the Lantern I meant to represent the congregation beneath the actual structure. The structure was made to be hung during Advent, candles positioned on the fish-like patterns hanging from the main structure alight the nave. The polychromatic qualities of the brickwork within the church are reflected by the use of maple, beech and mahogany woods of the lantern.