In the lead up to Christmas I was drawn into a cosy pop-up called 'Home', curated by Ana Clark, located at the top of the aptly named Christmas Steps in Bristol. What drew me in was an understated yet beautiful stone candle holder, precise in its balance and candle placement, yet still resembling a simple rock. I found this tactile and enticing, knowing the craft that it takes to create something functional whilst keeping the nature of the natural material at the forefront of the design. These pieces felt truly refreshing and original. When purchasing this piece for my own collection, I discovered that the maker behind this piece is South-West based sculptural stone carver Amberley Long, her brand being Amberley Stone. I got in touch with Amberley at the beginning of this year hoping that she would create a special collection of pieces for A New Tribe, and a few months later I'm really excited to share this limited collection that Amberley has crafted for our store. Stone carving is not something that I know much about, so I was keen to chat to Amberley ahead of launching this collection, to discover more about this craft.

Where did the idea for Amberley Stone come from, and how did your studio practise come into fruition?

I’ve always been obsessed with the landscape and stones. Growing up visiting my grandparents on the Jurassic Coast when I was very young, I played with sand, fossils, stones and had giant cliff faces in front of me that held an incredible amount of history within them always felt so inspiring. Always having a Barbie doll with me but using my brothers toy saw and hammers for fun. I somehow over the years found my ‘quiet’ and my peace when I’m in the presence of this environment and using my hands with natural materials. Manipulating forms, imagining how things would work, how balance and gravity all play a part. I was determined that this feeling would be an importance in my life and I needed to find how I could do this in my everyday.

I’ve always loved architecture, the form of the foundations and the strength of materials holding a space. I remember I bought a small bag of plaster in my first week at University, experimenting with fabric and the relief of textures mixed with the weight of gravity. My tutor then introduced me to a Cornish Granite carving class and I found my rhythm and that ‘quiet’ that I’d be longing for, and haven’t looked back since.

How do you select the stones for each piece, and what are your favourite types of stone to work with?

I’m intrigued by natural forms, how the rain, the wind, the trees all orchestrate their shape over time. These natural materials have so much story, and my hope is to see the vision of this story in the stone and exploit it, to expose the beauty. I love to work with limestone, I feel that the conversation when carving this material is acknowledged and accepted. The texture and detail that this stone is able to produce is exquisite. During my time in Italy, I also loved carving Marble. I felt the connection between the stone, water, the moon and myself when working with it.

What is the process used to create your pieces, and roughly how long does each piece take to make?

This completely depends on each piece, whether it is a natural source or a block of stone. My process is to sit. Be with the piece as I found it and vision what this could be. No judgement, no pre conceptions or expectations. Just appreciating the form as it is. Working with the stone, hearing the noises it makes when it reacts to when carving, the feeling of the texture, the light, the shadows. In sculptures that are free-flowing, I just carve. No model, no maquette, no plan. Just playing, experimenting, carving. When planning a specific piece or needing the dimensions to be perfect, I draw. Then I play. I find it difficult to have a break when carving. In my space I am at peace, thoughts are flowing and I have no where else to be but in front of this stone. 

Are there any specific inspirations that you draw from when creating your work, or are you simply responding to each particular piece of stone?

Definitely both, I draw a lot. I draw stones, both in detail and abstracting them. I really enjoy using ink, as I feel it is immediate and very liberating - similar to carving. I also draw buildings, objects, still life as part of my practice. I’m very intrigued by architecture and buildings placed in contrast to the landscape. All of these drawings could be for a sculpture, or I may carve a piece thats completely unrelated.

What is the largest piece you have ever made? Are there any limitations working with such heavy objects?

There are definitely limitations when working with stone, and it really makes me sad. The largest piece I have worked on is probably only a metre squared, maybe less. Due to me moving this and being able to carry this. I hope in the near future to find a suitable workshop where I can work with larger materials, or, work within the landscape where no moving of the stone is required (keep your eyes peeled).

Where would you love to see your pieces end up?

Although I love to see my pieces in galleries and collaborating with other artists work, my dream is to have my pieces in a space, an environment, in the landscape. I’ve always loved making pieces and experimenting with beings perceptions on pieces. Touching the work, moving with and around the pieces. I have always imagined seeing my sculptures in places where they can make a difference. To the light, to the shadows, to someone, to something, for something.

Creatively do you have anything in the pipeline that you want to explore through stone next?

I’m eager to work on more functional pieces. Exploring the heaviness between ‘want’ and ‘need’ and manipulating that by conversing with stone to make necessity pieces for a home, a space, the landscape.

You can view the full collection from Amberley Stone here, and within our 'Interior Objects & Art' page now.