Sara Ingleby-Mackenzie’s figurative sculptures exude tremendous character and confidence. Focusing particularly on the female form she explores themes of fashion and identity, with exaggeratedly skinny figures possessing an in-vogue demeanor. Her works are accompanied by titles reflecting a stylish and sociable party attitude: Bellini, Daiquiri, Mint Julep, Gin Fizz; Party People, Still Cool, to name a few. A woman struts in the fantastically characterised ‘The Dress’, whilst a crucifix-like figure acts as a handbag stand in ‘Handbags Galore’, suggesting a witty play on the term ‘fashion icon’. With this sophisticated edge of humour also comes an intellectually engaging provocation, which exaggerates the idea of personal image and social hierarchy, elevating the illusionary sense of importance which can grow from the façade of celebrity status.
Ingleby-Mackenzie’s figurative forms are sometimes referenced to the likes of renowned Italian sculptor Alberto Giacometti. However, with her spindly stylisation and beautifully textured clay-like finish, retaining the marks of its making, she has forged her own strong artistic voice, one whose acutely observant eye captures the defining nuances of contemporary culture.
Ingleby-Mackenzie trained under Ken Hughes, a pupil of Henry Moore, at the Bath Academy of Art and was awarded the Henry Moore Foundation Scholarship in 1982. Her work is very traceable in the public realm, with commissions including Kandahar Real Estate of Edward Winslow sited in Droitwich Spa, Volkswagen, the Nordic Swimming Federation, and creating the iconic "Spirit of Flight" for the Overseas Airline Gazette's ‘Airline of the Year Awards'. Currently she is working on a new body of work for her joint exhibition at Bath Contemporary in May 2016.