The bronze age

Andrew Mathieson
A BIRD in the hand is said to be worth two in the bush but the value is even greater when its on the rim of sculptor Will Wilson’s prized birdbaths.
In fact, one of the rewards for Will’s bronze cockatoos and galahs was an invitation to Britain’s prestigious Chelsea Flower Show.
Lugging a couple of tonnes of bronze exhibits nearly 17,000 kilometres for the pinnacle of world gardening is only one chapter in the story of the son of a sheep farmer’s meteoric rise.
Spending years amid the fresh air of national parks and game reserves and then hours in a stinking hot foundry was the catalyst behind the success one of Australia’s most unorthodox sculptors.
“I really fell into this by accident,” Will remarks.
“I suppose I didn’t really ever have a set career path but it’s funny how a lot of people who fall into art actually draw, paint or sculpt what they are passionate about.”
Stints guiding visitors within safe distance of Kakadu and Kenya’s most ferocious inhabitants gave Will his initial inspiration.
But sculpting was the last thing on his mind until a trip to several of Europe’s leading galleries and piazzas a decade ago.
The 36-year-old’s background was agricultural college, not arts school. Utes and shears were his tools, not scalpels or moulds.
“I was hopeless – I couldn’t even draw,” he laughs.
“I certainly didn’t do any art in school, so a lot of people are surprised what you can do if you give it a go.
“When I first started, some of the pieces were very average – it was like kids’ stuff.”
Will’s home-garage-turned-busy-workshop is now lined with finished sculptures, half-crafted masterpieces and rudimentary materials.
He first sketches his designs on paper before he “throws a bit of clay” together.
The model is lodged in a furnace at 1400C degrees. Will describes the subsequent pouring of hot bronze resembling lava from a volcano.
Will’s ancient method of changing an initial soft wax sculpture into bronze has remained unchanged for 6000 years.
The classic look of his work is a hit among the Brits.
“The good thing is sculptures are so much more accepted, plus they’re just garden-mad,” Will discovered.
“It was actually well-received because it was also a different, unique style.
“And they’re familiar with bronze, much more so than Australians.”
The Ocean Grove sculptor was Australia’s only participant at Chelsea after jumping through hoops to make the final cut.
At the show, Will launched his “snail trail” – a series of three-metre-long slugs weighing more than 500kg.
“The snails I really did just for Chelsea,” he said.
“I certainly would normally not do anything that big.”
The snails required forklifts just to pack into very large pine crates, not to mention the other half a dozen bird baths and a few 130kg dishes.
Will’s timeless birdbaths are in high demand throughout the country, ending up in many wineries, airports and public gardens but, strangely, none in the Geelong region other than his own yard.
Their subjects are not just exclusive to native birds but a sipping cockatoo still remains his personal favourite.
“I reckon they really reflect Australians because they have got a bit of character, give you a bit of cheek,” Will grins.
“They just sort of gathered around the big birdbaths and it is almost like they are having a drink – you know, telling a bit of a story and having a laugh.
“They are bit of a stirrer…a bit noisy like us.”