Naomi Hare is an artist based in Edinburgh, on the East Coast of Scotland. She has relatively recently changed her media into sculpture after a life long interest and involvement in art and craft, mostly of the Fine Art variety. She has dabbled in photography, collage, mixed media, paper making, Installations, Psycho- geographical mapping (derives) and many other disciplines.

A lot of the inspiration comes from the movement of water or land formations in Scotland and the Coastal seascapes. Designs occur from playing with ideas, materials and images such as the patterns left by water on sand and rock, or the atmosphere of the sea and sky. Distinctive elements of her designs are carved textural wood surfaces for wall mounting. They are highlighted by the shapes and colours with their visually impacting lines. The effects she has achieved have arisen from wide ranging experiments with textured. The Surfaces and painting incorporate traditional and contemporary techniques. The work ultimately both engages the eye and offers the opportunity for touch.

The subject matter also ranges from internal organs, plant life, insects, shells, bones, trees, moss - to the abstract. The inspiration always comes from the natural world. Lately she seems to be leaning more towards expressing landscapes, elements, Fossils and microscopic structures, the more monumental of natural shapes.

It is hard to draw a common thread from such an eclectic range of subjects, styles and sources of inspiration. She endeavours to capture the archetypal character of the subject. With human and animal forms this often entails a paring down of detail, not unlike primitive art. In other more fractal, subjects - trees, landscapes, shells -this can mean the opposite, a building of intricate colours using the woods own detailed textures, to create the intricate character of the subject.

Where possible, Naomi endeavours to work with reclaimed wood. This in itself is one of the most challenging aspects of her work and it can impose restrictions, including size and weight. Yet she experiences a great satisfaction in developing or adapting techniques that extend the use of redundant woods not normally used in the arts.