Jung talked about dream animals being frightening, or ‘minatory’; about how they would often appear to the subconscious engaging in strange behaviour or exaggerated in size. This he claimed was connected to how we deal with our raison d’être. Beth’s sculptures are akin to wandering in a Jungian dreamscape. The shadow waits, and the ghosts of strange beings beckon, frighten, beguile and terrify in equal measure. In these visions, we are not excluded but invited in.

Beth studied at Bath College and at Sunderland University. She won first prize in the Northern Graduate Show 1995 at the Royal College of Art. She then travelled to Sri Lanka and India to study mythological sculpture and later to New Zealand, Mexico, Gambia, Kenya and Tanzania to further explore the precedents for this genre of sculpture.

Beth currently has three large bronzes on show in Mougins in Southern France at invitation of the Musée d’Art Classique de Mougins, part of the 50th anniversary of Picasso’s death. Picasso spent the last twelve years of his life in Mougins, in his villa next to the exquisite, Notre Dame de Vie Chapel, until he died in April 1973. His house was named L’Antre du Minotaure (The Minotaur’s lair).  Two of Beth’s giant bronze sculptures are now in the grounds of the Chapel, and a smaller scale Minotaur is inside surrounded by a collection of photos of Picasso taken by Lucien Clergue. The Musée d’Art classique de Mougins have also have purchased a small bronze minotaur sculpture for their collection.  It is currently displayed in front of Picasso’s images of the  ‘Dying Minotaur’.  Beth’s work will also be shown at the Louvre-Lens in September of this year

‘Working within the realms of a sculptural tradition where the symbolic use of animal imagery is a potent and continuous source, my work creates allegories by, amongst other things, integrating the human form with animal forms. The resulting imagery holds both a timeless significance and a contemporary relevance despite and because of our separation from the natural world. It is important for me that my sculptures are accessible on an individual level as well as implicating more archetypal themes common to human experience.’