A tribute to Martin Lorenz

As many of you knew Martin, we thought you would like to read this tribute written by Clive Duncan...

Two Journeys - One Train

A tribute to my friend Martin Lorenz

Six strangers sitting opposite each other as the train pulled out of Twyford Station for London Paddington. Not a hint of conversation - a normal British silent journey save for the rustle of morning papers. The train stopped midway between two stations for an hour or so, we six passengers had little option but to talk to each other. By the time the train moved again, Martin and I had had nearly two hours of exchanges. He wrote his address on a tiny pocket map of London printed in Russian. I told him I was a sculptor and head of fine art at the Sir John Cass School of Art, City of London Polytechnic in Whitechapel. By the time we arrived in London I was aware that Len Deighton and John le Carré might be in the encounter.

Martin joined my sculpture evening classes soon afterwards. He was able to be taught by several tutors in sculpture, mould making and casting and became part of quite an intense group working from the life model.

At some point, Martin made a life changing decision to make sculpture instead of commute to London. Clay modelling, wood carving, assemblages and portraiture followed and subsequent group exhibitions. Several times a year he would come over to my house in Shiplake with finished pieces and work in progress or invite me over to Wargrave to see his work. He would also attend my lectures at the V&A and the National Portrait Gallery. It was always a great pleasure to see a friendly face in the audience.

Having spent my life in art schools from the age of 17 and still a visiting lecturer at 80, I have found teaching sculpture to be very rewarding for student and teacher alike. Martin’s enthusiasm fuelled our meetings and his curiosity for methods and techniques expanded his practical skills and aesthetic criteria. Phone conversations on the size and material for portrait bases or the challenging layering of relief carving lasted for long telephone exchanges.

It has been a privilege to have contributed to his journey into sculpture and to encourage a man who really enjoyed his work as he grew in confidence. One of his earliest portraits made at the Cass of a woman, Antoinette, was always one of his best. A solid lump of clay forced into a living portrait of an elderly lady wearing a beret. It was the beginning of his new journey.

Clive Duncan FRBS RBA SPS NDD

Sculptor and former head of the Sir John Faculty of Fine & Applied Art, London Metropolitan University