Simon Bacon
Simon Bacon (b. 1969) is an expressionist figurative sculptor based in Wivenhoe, Essex. He trained at the London Atelier of Representational Art (LARA) under Valentina Zlatarova and gained an MA in Sculptural Practice from Colchester School of Art (2013), followed by a Masters in Transpersonal Psychology and Consciousness Studies. He has worked as an osteopath for over twenty-five years. Working predominantly in bronze, cast from clay models, his practice explores the human body, philosophy of mind, consciousness and spirituality, and has more recently moved towards abstraction. He is a member of Colchester Art Society and is represented by Noonpowell Fine Art (London), Thompsons Gallery (Aldeburgh and London) and Galerie Neel (Cannes). His work has featured in numerous group exhibitions across the UK and abroad, including the London Art Fair, the Affordable Art Fair (Battersea and Hampstead), Thompsons Gallery, Sculpt Gallery and CAS exhibitions at the Beecroft Gallery, Southend.
Artist Statement
My practice explores the relationship between perception, embodiment and human experience. Beginning with figurative bronze sculpture, I used the body to investigate the interconnected physical, psychological and spiritual dimensions of existence. My work is informed by over 30 years as an osteopath, an MSc in Transpersonal Psychology and Consciousness Studies, training at the London Academy of Representational Art (LARA), and an MA in Sculpture from Colchester School of Art.
My current series, Relational Forms, marks a transition from representation to abstraction. The body is reduced to simple circular forms suggesting the head, trunk and pelvis, while colour, light, shadow and space become the primary language of the work. Rather than describing anatomy, these sculptures explore the relationships between form, movement and perception, changing as the viewer moves around them.
This evolution is not a rejection of the figure but its distillation. By stripping away detail, I seek to reveal the underlying structures of experience itself. The work invites contemplation of the invisible relationships that shape our sense of being, where sculpture becomes less an object to observe and more an encounter to experience.