Characterised by large monumental sculptures seemingly crafted to a high finish, the work aims to destabilise the elevated aesthetic of its own making through a conscious manipulation of form and finish.

The malleable, erratic qualities of wax give it an impermanent and un-monumental quality. With contrast a constant in the work, McLardy employs wax in both soft and solid forms: soft and fleshy set against hard-edge geometry and hard glossy moulded shapes, forming plinths and monumental blocks; the impermanent and changing quality of the material at odds with its prominent inclusion in the base or support of the sculptures.

In a similar way he play’s with historical and traditional references in the use of materials such as marble, wood and bronze. In applying copper leaf to imitate bronze and its oxidization he is able able to reproduce patinas on the surface of sculpted MDF and wax objects. This ‘negative’ patina creates numerous oxymora; genuine patinas, the result of time-aged chemical reaction on the surface of the alloy, protect and mask an object’s value, whereas these sculptures seek to simulate or assign grandeur through materialist illusion.


James McLardy was born in Chesterfield and lives and works in Glasgow. He has had solo exhibitions at Outpost gallery, Norwich; The Duchy, Glasgow; and The Royal Standard, Liverpool. He has participated in numerous group exhibitions, including at the Glasgow Sculpture Studios; High Cross House, Dartington; N/V_Projects, London, Haight Gallery; Calgary, SWG3 Glasgow; ReMap, Athens; Ceri Hand gallery; David Dale, Glasgow; Liverpool Biennale; Gallery of Modern Art, Glasgow; Hunter Times Square Gallery, New York; Overgaden, Copenhagen; and Glasgow International.

McLardy studied both Fine Art at the School of Art and Architecture at Mackintosh School of Architecture in Glasgow. He has been the recipient of a creative development residency at Cove Park and a production and development Residency at The Danish National Art Workshops, Copenhagen.