The Workshop

he specific manner in which I create the master piece has changed little since I began sculpture. Firstly, I must fall in love with an image that beckons me to recreate it. Sourcing the material to carve is the next step. A variety of stones have been chosen over the years to offer differing surface texture including sandstone, limestone and a fine grey stone that is native to the land that I explored in my youth (read more about me here …)

he preparation of the carving surface involves grinding the stone flat. This is done by grasping the rough stone with both hands and laboriously rubbing it backwards and forth on a hard, coarse and flat surface. Final smoothing techniques see the use of rubbing stones just like the ancients used to refine the texture ready for drawing the image. Once the drawing has been perfected it is ready to carve.

as relief is a technique where the background is chiselled from around the images drawn thus raising the image above the surface plane of the stone. Once this is achieved the majestic art of modelling the forms and adding the intrinsic detail ushers in the most intensive phase of the carving experience.

elief en croix, or sunken relief is the reverse effect of the previous technique. The background is left intact while the image is modelled below the surface plane of the rock. This method was employed extensively for the exterior decoration of monumental architecture as it captured the harsh Egyptian sunlight creating an attractive play of light and shadow. Alternatively Bas relief was utilised in the inner sanctums of temples and tombs where a raised image would make better use of what little light was available. Look at some of the reliefs that I have created here.

HREE dimensional sculpture: There were a number of ways to approach the creation of three dimensional art in ancient Egypt many of which I have explored: Blocks of stone carved and shaped into form, modelling in clay, wood or cartonage have produced some appealing results. The sculptures that are presently available in this category are the mummy case and some pieces featured in the artefact collection. More examples of this genre will be available in the future including a sphinx and mask of Thutmose III.

nce the carving of a master piece has been completed, it is ready to be reproduced. The Ancient Egyptians used moulding to reproduce a variety of art works, and it is our careful moulding of the master that preserves the original detail to the nearest micron. The design is then reproduced employing our unique sandstone composition.

ach relief and each sculpture is signed by the artist. Kameron has used this signature symbol continuously since 1984, being incorporated into drawings, paintings, and of course sculptures and relief carvings.

ainting is the next stage and requires a steady hand with disciplined rhythm to achieve some of the more minute details you will find on the artwork. The paints used are a combination of traditional ochre rock and modern pigments that are both durable and resistant to fading. The House of Pharaoh colour palette remains faithful to the original concepts devised by ancient minds.