MATTHEW PENN ART

British artist Matthew Penn’s figurative installations situate themselves at the confluence of his fascinations with light and form. His works investigate the way in which light affects the visual structure of his subjects; a curiosity that dominates every element of his practice.

Celebrated for his hyper-realistic portraiture, Penn’s use of paint resonates as ultra-contemporary, although his technique is inspired by the Dutch masters whose influence dominated his early years. Painting directly onto prepared aluminium, Penn renders up to 30 layers of oils in order to capture the microscopic details within skin structure and the human anatomy. Applying an entropic approach to his varied representations of the human form, the artist also uses other styles of painting employing the same colour palette. Fusing the tight-knit order of hyper-realism with textured impasto and abstract impressionism he demonstrates the structural organisation of the human existence.

Penn’s works adorn private homes and public galleries but take on a new dimension when installed within structures more akin to megalithic monuments than modern day wall hangings. In selected works, paintings of two opposing angles of the same subject are set into a variety of fabricated displays which enable the viewer to walk around the installation and explore the work in three-dimensional space. Employing groundbreaking methods, Penn also sculpts multiple beams of LED light in order to transform the way the viewer interacts with his works. He notes: “I am concerned with allowing the visual experience to transcend its most immediate surroundings.”

At a glance, Penn’s figurative sculptures evoke a very traditional sense of the human form. First he sculpts a classical representation of certain parts of the anatomy; however he then fuses a unique contemporary aesthetic into the form to highlight a chosen internal element of the subject and heighten the visual impact of the work. Penn also employs painting techniques and tools simultaneously to manipulate and sculpt clay, thus turning his painting and sculptural practice into an artistic synergy.

Central to his execution is the evolution of his works through his chosen display. By drawing on his own perception of the natural world, Penn has chosen to install his work outside the confines of the traditional gallery aesthetic; using nature and the environment as an extension to his palette and exhibition space. His use of these techniques harmoniously links the varied elements of his practice and roots his installations to environments both urban and remote, rendering them uniquely identifiable.

Through his use of natural materials such a metal, stone, and glass, Penn is able to forge a collaboration between his striking representation of the human form and the intimate viewing experience he facilitates through the manipulation of his display. Inspired by the inferred evolutionary relationships among biological species depicted by the phylogenetic tree of life, Penn uses this as an overarching narrative when representing mankind’s all-encompassing relationship with the natural world.

Combining such varied elements: hyper realism, abstract and impasto painting, industrial sculpture, genetic science, and polarised lighting, Penn creates a viewing experience that shatters the status quo. Audiences of his work are encouraged to question the artist’s intent as they immerse themselves in his atmospheric domain, which is both foreboding due to his installations’ dark sensory exploration and endearing in its depiction of the human form.

REBIRTH

CONCEPT DESCRIPTION

Steeped in personal symbolism Penn’s Rebirth series depicts classical figures surrounded by cast crystal glass and bronze frames. Illuminated from within, they interact with the works’ invisible dimensions suggesting that the piece has undergone a process of metamorphosis and transformed from painting to sculpture.

A particularly poignant concept for the artist, whose grandfather and mentor worked for years as a picture frame restorer, memories of the hours spent in his workshop helping to mould decorative plaster casts are reborn in Penn’s own practice. Meticulously casting antique swept frames and capturing the imperfections that illustrate their history, this narrative translates across the artist’s entire body of work.

Recognising within himself the same desire that motivated his grandfather to ensure the artworks that passed through his studio would go on to last a lifetime, Penn has chosen to draw inspiration from this visual, bridging the gap between his historic influences and contemporary use of materials.

Embracing the notion that his grandfather’s craft could be reborn through his practice, moulds of antiquated ornate frames have become the foundation of the artist’s sculptural Rebirth series.

Utilising glass to reflect the fragility of antiquated artworks, and bronze to convey the desire that his own works outlast those of their own generation, the presence of his cast frames can be interpreted in two ways. The first hints towards the artist’s own admission that his practice consumes his every waking hour; positioned beneath the classically posed figure they appear to devour its form. The second suggests a chrysalis/cocoon relationship between the frames and the figure, the former providing a cradle from which the work is re-born.

Intrinsically linking the artist with each work, this method of contemporary display pays homage to Penn’s passion for restoration

CAST CRYSTAL GLASS ORNATE FRAMES

Inspired by the visual created through Penn’s custom lighting techniques, the artist uses glass as a sculptural medium with dramatic effect. Highlighting the intricate design of the swept frames that form the base of Sophia, the glass not only responds to its environment but also conveys the fragile nature of Penn’s subject.

SOPHIA

CONCEPT DESCRIPTION

The first of Penn’s sculptures to link his practice with his home town of Margate, Sophia is a powerful metaphor for the regeneration of the Victorian seafront visible from the artist’s studio.

A salute to the town’s most notable creative resident Penn has named his first major piece of public sculpture after the woman who stole the heart of English Romantic painter J.M.W. Turner, Sophia Booth, and his own muse and confidante, singer songwriter Sophia Purdie.

Appearing as though to emerge from a cocoon of ornate frames, Sophia’s female form stands tall against the backdrop of the thriving coastal town and symbolises the recent redevelopment that has injected new life into the region. Historical influences of Margate’s enduring creative scene and Penn’s own childhood memories of time spent working in his grandfather’s studio are also visible throughout the composition.

Aligned toward the setting sun, Sophia will follow the analemma, the directional variation in the sun’s position in the sky throughout the year, watching the end of each day from her position on the shore. Steeped in cultural reference to the evolution of man and the genesis of our earth, Penn once again returns to the notion that the past can be a catalyst for creativity in the present.

Positioned in the path of the area’s tidal coastal waters, the base of the figure will, at times, be engulfed by the ocean. This somewhat surprising location adds another layer to Penn’s already expressive composition; a nod toward the town’s perseverance it suggests that not even the brutal force of nature can impede Margate’s rebirth.

Encompassed within Sophia’s maternal grasp, encapsulated and preserved, the DNA of people who call Margate home will act as a snapshot of the community which spearheaded the region’s regeneration. A signature addition to the display of Penn’s hyper-realistic paintings, the artist’s desire to conserve is a constant theme throughout his practice.

Not confined to the four walls of a gallery, the artist invites his audience to interact with Sophia and briefly become a part of her composition. Offering endless ever-changing views through each facet of the frames that root the sculpture to the seashore, the conversation between material and composition continues still further throughout the town.

Located across Margate, single ornate frames cast in bronze, that appear as though they have fallen from the sculpture, offer the public the opportunity to create their own figurative installation. These rotating frames will encourage interaction with the work and seed a powerful visual online* inspiring others to visit Sophia and aid in Margate’s bid for a successful rebirth.

*Please visit matthewpenn.com to view associated social media accounts

STAGE ONE

Stage one is the official start of the Sophia rebirth project. The initial fabrication of the three life size renditions of Sophia now allow the project to develop from beginning to end. The schedules in stage one take reference from the three sculptures and are crucial for the initial research and development required for preparation of stage two. They allow for the initial concept renders and selection of site and scale of the final Sophia.

To realise Penn’s vision, a team of creatives will be appointed to expedite the completion of the project. These individuals will be chosen based on their expertise in their field, and their passion for the work

Suggested sites are recommended based on their sympathy to the narrative of the sculpture and the surrounding aesthetic.

LOCATION

The preferred site comprises bedrock and sand, and stretches north of the sandy shore adjacent to the Nayland Rock Hotel. The site is consumed daily by the rising tide and offers uninterrupted views of sunset, both of which are integral to the narrative of the proposed sculpture. Alternative sites include:

• Atop the sea defense outside the Nayland Rock Hotel

• In the central reservation of the roundabout on Marina Drive

• On the promenade

All planning documentation in this stage will be elaborated on extensively on receipt of payment for the commission of the three life size renditions of Sophia.

SCHEDULE OF WORKS - STAGE ONE

• Begin environmental impact investigation and development of proposed sites

• Photography, video, and drone footage collected of all proposed sites

• Source 3D scanning and photogrammetry expertise to assist with creation of digital renders showing sculpture in situ

• Source location for first public exhibition

• Consult structural engineer on feasibility of proposed sites

• Consult health and safety officer regarding mitigation of personal risk when visiting proposed installation

• Documentary filming to commence

• Preferred sites identified

• Marketing for first public exhibition commence

• Fabricators proposals

• Architectural proposals

• Presentations for funding

STAGE TWO

Preliminary technical investigations completed within stages one and two will aid in the final decision on size and scale of the work. A fabrication guide will be drawn up and a work schedule compiled for all participating foundries

Intended to garner interest in Margate’s regeneration, the general public will be invited to cast their vote on which of the three compositions they would like to see on the seafront in their coastal town.

Communicated within an exhibition, the local community and visitors to Margate will be able to view life size versions of the proposed compositions as well as renders of each situated at proposed installation sites along Margate’s seafront.

An important step toward realising the final work, from this initial undertaking a full understanding of the project’s aesthetical impact and financial requirement can be obtained.

SCALING UP PROCESS

Through investment made from funds remaining after fabrication of the initial Sophia renditions, Penn will use modern technology to scale up the renditions. Computer renders embedded into images and drone footage of Margate will start to show the aesthetics of the completed final installation.

CONSIDERATIONS FOR LAUNCH EXHIBITION

• Source historic Margate building, possibly with a connection to Turner

• Display of digitally rendered views of sculpture in situ

• Use of Penn’s signature lighting technique to elevate the visuals during the exhibition

• Link with ERCO lighting

• Length of opportunity to cast vote on composition selection

• Mechanics of voting system

• Opening night

• Guest lists

• Videos and invites, promotional content

• Collaboration/s

• Length of exhibition

• Dates

CULTURAL IMPACT CONSIDERATIONS

• Ensure all public documentation regarding the project clearly outlines the main elements of the concept and installation process to assist in creating a sense of anticipation for its completion

• Produce a research document outlining the positive impact Sophia will have on the town. The Turner Centre and Dreamland have both already produced such reports and numbers and analytical data can be quoted from these reports for the purpose of the project and its long term benefits

• Liaise with the Arts Council and English Heritage on the subject of cultural impact

• Respect views and opinions of local people and collaborate to resolve any concerns

• Ensure considered approach to all communication with public and local authorities

• Presentation on Margate plinths

SCOPE OF WORK FOR ENVIRONMENTAL IMPACT REPORT

• Outline of project characteristics

• Assessment of potential impact on foreshore and international sites

• Liaise with Natural England regarding compliance

• Undertaking of Habitats Regulations

• Screening/Assessment from Kent County Council Ecological Advice Service

• Suggested impact avoidance and mitigation measure

PROPOSED ENVIRONMENTAL DEVELOPMENT RESEARCH

• Investigation into use of materials/coatings to aid in the success of endemic species that come into contact with the sculpture

SCOPE OF WORK FOR PLANNING APPLICATION

• Develop concept design drawings and prepare information suitable for Pre-Planning Application advice to local planning department

• Once positive planning advice is gained a topographic survey of site must be obtained

• Develop detailed design of the sculpture and coordinate the design with a Structural Engineer

• Full Planning Application to be submitted to Thanet District Council. Client will be the applicant for this application referring to the artist as the creative lead on drawings and planning statements

• Site location plan at a scale of 1:1250 and Block plan 1:500

• Site plan at a scale of 1:100 (1:200 min.) showing the proposal in relation to adjacent buildings and promenade and will include triangulated setting out dimensions

• Scaled elevations and sections of the sculpture and plinth

• Digital renders showing proposed sculpture in context at different times of day

• Written concept design and access statement (with artist’s explanation)

• Submit construction method statement including schedule of proposed works and materials (coordination with Structural Engineer)

• Statement setting out proposed arrangements for maintenance of the sculpture and associated landscaping if required. (Client to confirm whether they require the local authority to take the artwork into care and if so that they will be willing to deposit a sum of money for this purpose.)

• Survey and assessment of impact on biodiversity

• Client to obtain legal agreement with site owner permitting use of their site; this may be by way of a letter to the Crown Estate if the site is on or beyond the shoreline

• All Local Authority and consultant fees to be paid by client

SCHEDULE OF WORKS: STAGE TWO

• Launch of an immersive public exhibition to provide marketing opportunities and garner public support for the project. Digital renders of proposed final sculpture to be included and the artist will enhance the visual experience by utilising his signature lighting techniques to bring a sense of excitement to the event

• Gala night opening the exhibition and promoting the opportunity to view progress of final composition (once chosen) at black cube fabrication site close by. Invitations to media, sponsors, prominent local figures etc to generate interest in the selection process for final work

• Question and answer session with artist to discuss the work and its installation

• Application process opens to local people who wish to submit their DNA for inclusion in the work

• Chosen site to be acquired if not already owned by the client

• Local planning application to be submitted for final approval

• Site specific installation requirements to be considered, including power source for ERCO lighting - suggest offshore/solar

• Groundwork experts and engineers brought in to achieve spec outlined

• Fabrication planning to begin on receipt of planning approval at black cube fabrication site and other foundries

• Meetings with Arts Council

• Research document on the celestial configuration

• Contracts in place with all suppliers / fabricators and workforce

• Relevant Non Disclosure Agreements in place

• Develop concept design drawings and prepare information suitable for Pre-Planning Application advice to local planning department

• Once positive planning advice is gained a topographic survey of site must be obtained

• Develop detailed design of the sculpture and coordinate the design with a Structural Engineer

• Full Planning Application to be submitted to Thanet District Council. Client will be the applicant for this application referring to the artist as the creative lead on drawings and planning statements

• Site location plan at a scale of 1:1250 and Block plan 1:500

• Site plan at a scale of 1:100 (1:200 min.) showing the proposal in relation to adjacent buildings and promenade and will include triangulated setting out dimensions

• Scaled elevations and sections of the sculpture and plinth

• Digital renders showing proposed sculpture in context at different times of day

• Written concept design and access statement (with artist’s explanation)

• Submit construction method statement including schedule of proposed works and materials (coordination with Structural Engineer)

• Statement setting out proposed arrangements for maintenance of the sculpture and associated landscaping if required. (Client to confirm whether they require the local authority to take the artwork into care and if so that they will be willing to deposit a sum of money for this purpose.)

• Survey and assessment of impact on biodiversity

• Client to obtain legal agreement with site owner permitting use of their site; this may be by way of a letter to the Crown Estate if the site is on or beyond the shoreline

• All Local Authority and consultant fees to be paid by client

STAGE THREE

Stage three will see the start of fabrication on the composite replica of the final proposed scale version of Sophia.

From this point each, stage will require careful planning and project management to ensure all elements of fabrication activity align. Once the fabrication guide is complete and signed off by the lead structural engineer and foundry representatives, work on the composite replica can commence. Consideration will also need to be given to the internal architecture of the sculpture at this time.

All previous technical and technology preparation used to fabricate scaled-up version.

FABRICATION SITE

To generate continued interest in the project, parts of the fabrication site will be accessible to the public. Housed in a black cube, at various times of the day progress will be visible through panoramic windows and a permanent display of the digital render will be on show to illustrate the final work in situ.

CONSIDERATIONS FOR FABRICATION

Prior to the final cast being made, a full scale composite replica will be reworked by the artist to achieve the desired aesthetical balance. At this time a schedule of works for groundwork preparation and installation can be devised.

• Employ multiple foundries across the UK and Europe to expedite fabrication process Expert founder and M.Penn will oversee this process

• Outline use of technologies to expedite design and planning process

• Structured time plan done for fabrication of all elements
• Black cube fabrication site - timelapse

• Provide ample notice to foundries to ensure prompt pick up of work

• One lead fabrication site close to artist’s base in Margate

• Fabrication guide completed with the help of data collection sourced in stages one and two

• Internal architecture of sculpture to be designed

• Extra team members employed

• Insurance in place

• 24/7 work schedule employed

• New filming techniques used to film process

• Structural engineer employed throughout stage three

• Any composition changes must be made at this stage

• 3D enlargement of selected life size frames

• Internal lighting systems designed

• External lighting systems designed

• Private views for funding / schedules set

• Contracts in place with all suppliers / fabricators and workforce

• Relevant Non Disclosure Agreements in place

STAGE FOUR

From the point at which the composite sculpture is approved, fabrication of the final work can begin. This will require moulds to be taken of the composite structure which will be a complex and detailed activity. From these moulds the final bronze casts will be made.

In tandem with this process, structural metal work and initial groundworks, including installing the chosen power supply, can be undertaken

After the full scale composite cast has been approved, moulds can be taken for the final bronze cast. This process will require collaboration with structural engineering and foundry teams to ensure accuracy. Sections of the full mould will then be sent to a number of foundries to be cast in bronze, a process that will be managed by a specialist in bronze casting. The expert will also oversee his contemporaries throughout the casting process to maintain quality control and coherency during this crucial stage. A detailed schedule of works will be drafted to manage this process which will apply to both the figure and frames

CONSIDERATIONS FOR FABRICATION

• Groundwork to commence on site

• Power supply to site installed

• Installation activities continue

• Fabrication of elements on new site

• Welding team employed

• Internal structure connection and mounting system to external aesthetic bronze components

• Frame to figure connections

• Final installation plan

• Transport and delivery of components

• Enclosed system around sculpture to protect the last stages of fabrication and patination

• Final visual checks

• Dry run fit of site

• Final adjustments made off site

• All components will be digitally scanned to check the assembly. Physical changes can be earmarked in advance

• Contracts in place with all suppliers / fabricators, and workforce

• Relevant Non Disclosure Agreements in place

STAGE FIVE

Stage five will see the final fabrication of all elements come together for the completion of Sophia in cast bronze.

After the main fabrication is complete the sections of bronze will be transported to the installation site and erected piece by piece. Logistics and lifting equipment will be required at this time; health and safety at the public installation site will also need to be considered.

During the installation, a marketing campaign will soft launch the sculpture to media in preparation of its unveiling.

CONSIDERATIONS FOR FABRICATION AND INSTALL

• Concealment of site for groundwork preparation and installation

• Begin installation of final work

• Installation activities continue

• Transport and installation team employed in advance

• Time scale outline

• Insurance

• Black cube concealment structure hidden before launch

• Final welding / finishing

• Lighting check

• Security of site in place

• 24/7 filming set up

• Contracts in place with all suppliers / fabricators and workforce

• Relevant Non Disclosure Agreements in place

STAGE SIX

Stage six will see the preparation for, during and after the unveiling of Sophia. Extensive preparation , research and marketing material will have been obtained and structured during the other stages in preparation for this stage. A global marketing strategy will be put in place well in advance of the unveiling.

CONSIDERATIONS FOR PRE LAUNCH / LAUNCH

• Pre-launch activities commence

• Preparation of surrounding area for launch

• Launch to coincide with start of summer season

• Launch coincide with summer solstice

• Set launch date

• Global marketing strategy put in motion

• Invites sent to guests of honour

• Invites sent to art world leaders

• Media invites

• Publication invites

• Interview schedule before and after unveiling

• Release of documentary

• M.Penn opening of local exhibition of private works (separate proposal document outlining exhibition plans) pre-sales of works offered to collectors

• Plan traveling exhibition of rebirth works globally

PROGRAMME SCHEDULING

A proposed schedule will be outlined to suggest how the project will run based on learnings from the fabrication of the three renditions. The suggested timeline may be subject to change due to the fluid nature of large-scale fabrication projects, however every effort will be made to adhere to the original schedule.

• Maximum projected completion for Sophia, with full funding, Q2 2023

• Specific time plans for every element created eg. fabrication , marketing etc

• Before each stage an initial working document and schedule will be put in place

MARKETING

GAINING GLOBAL REACH

The private initial sale of the three life size rebirth renditions are separate to the Sophia project and will be treated as a commercial sale between M.Penn LTD and proposed client. The completion of this commercial sale will be separate, but will aid in the Sophia project during and after its completion.

STAGE FUNDING FOR SOPHIA PROJECT

Each stage will be cost planned and funding will be obtained for each stage, funding in preparation for the following stage will also be obtained during each stage.

CONSIDERATIONS FOR FUNDING

• Gala night to raise money during exhibition of stage two

• Meet and greet with sponsors and donors with artist during the exhibition of stage two

• Miniature models made to enable presentations abroad

MARKETING

An additional budget separate to the fabrication costs will be allocated by the client to facilitate marketing activities at relevant stages of the project. These funds will also cover the cost of printed and digital presentation packs.

MARGATE PLINTHS

A separate funding structure will accompany the main business plan and provide details of the accompanying Margate Plinths Project. Although the launch will be in partnership with the unveiling of Sophia, this will be a standalone business.

GRANTS

Extensive research into viable opportunities such as those run by Arts council, National lottery, Local councils, National trust etc.

SPONSORSHIPS

Suggested avenues to investigate include; Corporate, Sotheby's / Christie's, banking and hedge fund sector, international etc.

MARKETING

GAINING GLOBAL REACH

Marketing activity for the Rebirth project will be managed in-house by M.Penn LTD to ensure continuity in messaging and visuals. All concept ideas, and design and development for the Sophia sculpture and other works within the Rebirth concept, including the Margate Plinths Project, will remain the intellectual property of M.Penn LTD.

Marketing materials will be made available for use by approved external agencies and partners that align with the project’s marketing strategy to promote wider global reach.

MARKETING MATERIALS

RENDERS & CGI

Renders and CGI graphics generated during stage one activities will be immediately made available for the marketing and promotion of the project. This process will continue throughout the project where applicable.

VIDEOS

Promotional videos for social media will be made available weekly to garner the interest of an audience and secure a strong marketing platform from which to launch.

A soundtrack will be composed for use on all video promotion to maintain a unified aesthetic.

BRANDING

The Sophia rebirth project will be branded and promoted under M.Penn LTD.

SOCIAL MEDIA

Social media platforms will be managed in house by M.Penn LTD.

DIGITAL & PRINT MEDIA

Press releases and project packs will be created by M.Penn LTD for general marketing. The artist Matthew Penn will give media interviews when M.Penn LTD and the client agree it adds value to the project.

MARKETING CAMPAIGN IDEAS

MARGATE SCULPTURE PROJECT

The Margate Sculpture Project: Sophia, and Penn’s Rebirth concept will also serve as the catalyst for the Margate Plinths Project. An annual art competition open to artists worldwide, each year a committee of specialist advisers, local artists, and residents will select a number of works to be installed on a series of plinths throughout the town.

The works will remain in situ for 12 months and inspire a series of events designed to engage the local community and seasonal visitors. The Margate plinths will be a temporary project and its future extension will be decided from its success after the initial 12 months trial period.

MAN’S EVOLUTION - SOCIAL MEDIA PROJECT

To promote the Margate Public Sculpture Project (launch during the initial public exhibition to select a composition) and garner interest on social media, a series of cast aluminum ornate frames will be sent to engaging destinations with a photographer who will capture images of people creating their own temporary installation.

From the hands of those who have featured in the resulting photographs, a mould of their fingerprint will be taken and imprinted into Sophia along with their name, to represent the sophisticated and unpredictable nature of evolution.

The photographer will be given a set of parameters to generate a series of images which will catalogue how different cultures and societies interact with the frames and create content for social media and marketing materials.

Kickstarting the project in Margate, notable names and local heros will be invited to be photographed with the frames and define the next destination based on their own family history. The frames will then travel onward in this manner following the evolutionary lines of the people who come into contact with them.

In tandem with this, a series of larger-than-life frames will be installed at locations across Margate. These frames will rotate from a central position to provide changing backdrops, and accommodate one or more people who will be encouraged to capture their own imagery and promote the concept of Rebirth and The Margate Public Sculpture Project: Sophia.

There is also the potential for the temporary installation in Margate (during the peak summer season) of an identical frame to that which will travel, set up as a “selfie” site to capture images of visitors to the town. Visitors can input their own social media channel prior to taking the photo and the image will be sent via a private message to that user. By inputting their social handle, users will grant permission for their image to be used on the project’s own social channels and in related marketing materials.

MAN’S EVOLUTION SCHEDULE OF WORKS

• Define locations for installation of frames in Margate considering the view through the frame and aesthetic of images produced

• Define sizes of frames to travel and those for installation in Margate

• Prepare a proposal to present to Thanet District Council in tandem with wider proposal for Sophia

• Research material components suitable for interactive public installation

• Consider budget requirements for photographer and their travel expenses

• Define marketing strategy

• Begin fabrication process of frames

• Source photographer

• Outsource creation of tailored software for selfie site

• Installation of frames around Margate

MAN’S EVOLUTION FABRICATION CONSIDERATIONS

• Consider any insurances required for public interaction with frames

• Mechanics of movement and installation in Margate

ACCOMPANYING DOCUMENTARY

A documentary chronicling the fabrication of the sculpture will be produced in-house by M.Penn LTD and pitched to outlets such as the BBC and Netflix. A feature length title, the film will fully immerse the audience in all aspects of the project and showcase the technical challenges overcome to install the work. The filming will commence at the point at which the first three renditions are commissioned and cover all activity to the point of launch.

OUTLETS TO PITCH

• CHANNEL 4
• BBC
• NETFLIX
• AMAZON
• SKY ARTS

To continue the narrative of the sculpture, a series of special events will be planned throughout the course of each year in conjunction with the project, eg concerts on the beach, the unveiling of the Margate Plinth Project, exhibitions etc.

ADDITIONAL IDEAS

• Celebrity endorsements

• Life size version on display at St Pancras International

• Life size version on display in other prominent location in London

• Life size sculpture to go on world wide tour

• Placement of life size sculptures on highest peaks in UK

• Travelling tour of UK

• Three compositions to be installed at prominent locations on route from London St Pancras station to the coast to promote Margate’s regeneration

• Timelapse technologies employed to capture fabrication process

• Drip feed marketing to keep story at the forefront of news in Margate and south east

• Marketing strategy for lunch to be employed

• Programme of annual events to maintain interest in Sophia - concerts on the promenade etc

• Launch of Margate plinths project

FUNDING

STAGE FUNDING FOR SOPHIA PROJECT

Each stage will be cost planned and funding will be obtained for each stage, funding in preparation for the following stage will also be obtained during each stage

CONSIDERATIONS FOR FUNDING

• Gala night to raise money during exhibition of stage two

• Meet and greet with sponsors and donors with artist during the exhibition of stage two

• Miniature models made to enable presentations abroad

MARKETING

An additional budget separate to the fabrication costs will be allocated by the client to facilitate marketing activities at each stage of the project. These funds will also cover the cost of printed and digital presentation packs.

MARGATE PLINTHS

A separate funding structure will accompany the main business plan and provide details of the Margate Plinths Project. Although the launch will be in partnership with the unveiling of Sophia, this will be a standalone business.

COST PLANS

On commission of the initial three Rebirth renditions a detailed cost plan for each stage of the project will be produced along with details of a margin for contingency. Until this time, all known costs have been catalogued in an attached document.

All agreed costs will be paid to Rebirth LTD and should there be any of the agreed funds remaining at the point of competition, the entire sum will be gifted to The Fragile Fight and aid in its philanthropic activities to raise the profile of global wildlife conservation efforts.

• Client to pay all fabrication costs

• 15% of fabrication costs to be paid to Rebirth LTD

• Apply for grants

• Apply for match funding

• Sponsorship

CONSIDERATIONS FOR CONTINGENCY

As part of the planning for each stage, a contingency for unforeseen delays and overspend will be factored in to the capacity of the project. This will include additional finance and personnel to assist with fabrication if required.

• Costs of moulding and casting currently owned frames

• Standard cost of enlarged human form in bronze 2-10 X life size

GRANTS

• Arts Council

• National Lottery

• Local councils

• National Trust

• Extensive research into others

SPONSORSHIP

• Corporate

• Sotheby's / Christie's etc

• Banking and hedge fund sector / contacts

• International

• Extensive research into others

DONATIONS

Research into the correct procedures for donations will be obtained and set in motion.