The sculpture ‘Seafarers II’ or ‘The Arrival’ developed from the making of the Lossenham bow. The dramatic colour differences in the grain of the yew used for the bow and the yew’s initial shape led me to re-imagine the first ceramic Seafarers sculpture into one of mixed materials. The yew hull was cut, planed and finely sanded before being french polished to enhance the colour and depth of the grain. Abstract figures were carved from foraged minerals mixed with a natural resin, the dark figure carbonised clay and the light figure priory chalk, finally they were polished with bees wax and turpentine.

The cross mast is iron, synonymous with the Lossenham site where rivulets of water run between chalk layers and emerge signalling their presence with a bold red stain of iron oxide. Iron has been worked here since the iron age and the importance of the material is revealed by the raised imprint of an iron age fort built on higher ground.

Three early Tudor nails form the mast spars, creating a cross a reminder of the later Carmelite arrival and the three nails used in Christs crucifixion. As with ‘Alter Stones’ the plinth is foraged ash, planed and polished, its white nature a nod to the white of the Carmelite robes.