Hurricane

Cassell’s inspiration comes from various places: nature, architecture, fabric flowing, hair falling, waves and sand dunes. In her work, she celebrates life, and makes connections for people that bonds them together, emphasising their similarities rather than their differences. Through the power of pattern and the suggestive quality of sculpture Cassell attempts to take people to different places and cultures by connecting them through memories (both personal and collective) and creating and anchoring them in a shared consciousness. The texture and surface of Cassell’s work is as important as the structure and the beautiful, smooth carving invites touch.

The beauty of the carving of Hurricane is smooth and tactile in a white material that reflects the light. The deeply carved indents create deep shadow which enhances the contours of the sculpture.

Hurricanes are usually seen as threatening and something to be feared, but here, the careful swirl of the central roundel is not chaotic or out of control, but part of a harmonious whole. Just as a hurricane is part of a weather pattern, so the sculpture indicates that it is part of a system, which generates waves and flow. On the other side of the sculpture the carving is abstract but suggestive and takes the viewer to different places through a personal and collective memory to the universality of archetype. Beautifully carved facets and shapes – geometric, angular and rounded - fit together forming a whole. The carving is suggestive of lotus petals, parts of Islamic architecture or calligraphy or the carving of a cathedral. Just like a people joined together, or a multi-faceted, generational society, the facets and shapes are suggestive and personal but universal. It is possible to see a bird, an Easter Island sculpture or totemic god or a tribal mask. A crescent moon shape in the centre rises above a mountain, above, perhaps, the delicate but monumental crossed legs of a woman, her arm resting on her knees; a piercing higher up could be an eye. The sculpture joyfully links all these suggestions together.

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About the Artist

Cassell was born in Pakistan, brought up in Lancashire and now lives in Shropshire. She obtained an art-based degree in 1997 and an MA in 2002 and became self-employed in 2004. Growing up, Cassell always loved maths and problem solving and this is evident in her work as she maps flat, geometrical designs onto curvilinear surfaces giving it shape and mass. Cassell’s work utilises definite lines and dramatic angles to manifest the universal language of number and create a dynamic sense of movement. To achieve these effects she uses thick, heavy surfaces or solid forms to carve to the desired depth. Cassell concentrates on simple forms as the basis of her work which maximises the impact of the complex surface patterns in combination with heavily contrasting contours, and she creates depth through both carving and the effect of light and shadow.

Cassell’s multi-cultural background directs her work which displays her love of recurrent patterns and strong geometric elements inspired by the repetitive motifs found in Islamic architecture and North African surface design. Her work has distinctive and vibrant links with nature – from the strong pattern of the petals of a sunflower or lotus and the fractiles of a snowflake. Growing up in Manchester, Cassell was fascinated by the architecture of the city, with the hand-carved facets on buildings which collect rainwater and shadows. Other elements influence Cassell’s work: she spent four pivotal months in Italy which introduced stone into her work and she spent time in Japan working in clay which gave her a new element of control and an appreciation for distorted forms which loosened her understanding of design.

Cassell learnt to carve with both hands and she finds that this physical approach helps her connect with her work and create perfect geometry as she creates the compelling drama and playful dynamism that characterises her work. While she designs her pieces she connects to her subconscious and then enters a kind of therapeutic, dream-state while she carves.

‘These all-embracing obsessions of bringing into being the poetry of faceted forms are her creations. They are buried in layers of forgotten history, like subcutaneous memories waiting to be plumbed; like the ocean deep they float in darkness waiting to be revealed by the light. Halima carves out parts of her history, an exorcism of thought forms, a compulsion to make manifest the intangible, transmuting it into something hard and permanent. Like life, everything begins with the energy of a thought.’ (David Coggins)

Cassell’s works are held in many public collections in the UK including the Victoria and Albert Museum and the Birmingham Museum and Art Gallery.