Robin Wight | |
---|---|
Born | 1960 (age 62–63) |
Known for | Wire sculpture |
Notable work | Dancing with Dandelions (sculpture) |
Website | Website |
Robin Wight (born 1960) is an English artist and sculptor from Stoke-on-Trent, Staffordshire. He is known for creating stainless steel wire sculptures which depict fairies. His best known sculpture is called Dancing with Dandelions .
According to Wight's website, he was born in 1960 and his father was an engineer. He began drawing in pencil during high school. He was creative throughout his life and began to create three dimensional art in his adult life. [1]
He has said that he received a camera in 2009, and while he was experimenting with the camera, he took a photo and he saw an apparition of a fairy in the photo. [1] [2] Then in 2010 he was repairing a wire fence and he became interested in the malleable wire. Soon after he created his first fairy with the same galvanized fence wire. [1]
Making fairies began as a hobby for Wight. In 2011 he started a business called FantasyWire. His career began when Amanda Dawson from Trentham Gardens discovered his work. Wight was then commissioned to produce more sculptures for Trentham Gardens. In 2014 a visitor shared a photo of one of the sculptures and Wight's Fantasywire Facebook page swelled to 440,000 followers. [3] [4]
Robin Wight has created four Dancing with Dandelions sculptures, which he calls "One o'clock Wish". He called it his signature piece and has said it is the most requested sculpture. He claims that a 20 second video of the sculpture he called Living the Dream went viral in 2014. [1]
The Cottingley Fairies appear in a series of five photographs taken by Elsie Wright (1901–1988) and Frances Griffiths (1907–1986), two young cousins who lived in Cottingley, near Bradford in England. In 1917, when the first two photographs were taken, Elsie was 16 years old and Frances was 9. The pictures came to the attention of writer Sir Arthur Conan Doyle, who used them to illustrate an article on fairies he had been commissioned to write for the Christmas 1920 edition of The Strand Magazine. Doyle, as a spiritualist, was enthusiastic about the photographs, and interpreted them as clear and visible evidence of psychic phenomena. Public reaction was mixed; some accepted the images as genuine, others believed that they had been faked.
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