Connecting with wildlife through three-dimensional art June 21 2026, 0 Comments
By Kimberly Nicoletti
There’s something fascinating about the sleek musculature and quick agility of wildlife, and while you can view it in action on television or catch glimpses of it in nature, a three-dimensional sculpture allows you to actually grasp the physicality of animals in their prime; by touching the curves and lines of sculptures, you can feel a bird taking flight, a wolf prowling or a fox stretching.
Red Alert bronze fox sculpture by Jeremy Bradshaw
Just as the last blog talked about how wildlife paintings provide an intimate rendition of animals, sculptures can bring us into an even more up-close and personal relationship, by the very nature of their three-dimensionality. We can run our fingers along the large ears of one of Jeremy Bradshaw’s foxes, cup our palm around his owl’s stout body and imagine bird wings as they slice through the sky.
It brings an actual closer connection to the reality of what the animal is. They’re finding an even greater connection to whatever it is that they feel or think about that animal. People have a desire in their own life to have a proximity to wildness, and owning sculpture is so accurately representative of the animal. With my work, a lot of it is the expressiveness of the character of the animal, along with the size — most of my sculptures are life size,” said Jeremy Bradshaw.
The roundedness in his sculptures convey a playfulness, which reflects his experiences spending time in nature growing up.
Cinnamon Twist bear bronze sculpture by Jeremy Bradshaw
“I sculpt the animals the way that I imagined them when I was a kid. I always had an active imagination as a kid, and I wanted to be friends with animals,” Jeremy Bradshaw said. “I create a very uplifted and friendly kind of character without turning them into a bronze version of a stuffed animal or taking them outside of being the wildlife that they are. I just add a little bit of expressiveness to their faces that help to give people a chance to connect and bring a bit of happiness.”
Mark Yale Harris also takes a playful approach to his sculptures, which include bronze, but also extend into alabaster, marble and limestone. He might even render two species interacting and humorously title them. He named one bear with a fish “Fast Food” and a bird riding on the back of a horse “Free Rider.”
Fast Food bronze sculpture by Mark Yale Harris
One of Jeremy Bradshaw’s favorite pursuits in working with bronze — an inherently hard and heavy medium — revolves around making it look light, fast and/or “soft.” For instance, “Coming for Ewe” balances on one paw with an upright tail, making the animal appear light — and on the move.
“Those are some of the ways that I enjoy trying to push the perception of bronze,” Jeremy Bradshaw said. “I want your mind to tell you it's something different than what it is if I can. So I try to play with offset balance and roundness to create softness.”
Coming for Ewe by Jeremy Bradshaw
These large sculptures — as well as James G. Moore’s large bells portraying wildlife — not only complement interiors, but also enhance gardens and patio areas all year round.
James G. Moore’s unique bell sculptures blend sound with wildlife, from birds or foxes to sea turtles or octopus. The designs marry human culture with the wild world, in the sense that just about every culture employs bells to signal a gathering — or warn of danger — and the wildlife he adds into the face of the bells or atop them reflect the world beyond human society.
He employs a wide, rhythmic curve to achieve a deep, resonant tone, adjusting the sound by cutting a slot into the sides.
Cardinal Carols bonze bell sculpture by James G. Moore
“I'm interested in making art that draws people in, to interact with it in some way,” James G. Moore said, adding that he also enjoys the functional component of bells. “Bells are a ubiquitous form for calling people together — church bells, alarm bells, bells for meditation … and dinner. That's ultimately what I hope people are doing with it is calling their friends and family together.”
His primary reason for incorporating birds or other wildlife into his bells involves connecting with the divine, which he experiences in the natural world.
Octopus Bell by James G. Moore
"I hope in some way it's a gateway for getting people outside and being reconneced to the natural world," he said.
While neither artist solely focuses on birds, the winged creatures play a prominent part in each of their sculptures.
Jeremy Bradshaw became spellbound with raptors as a young boy after watching a man work with a hawk, and by age 19, he had become a professional falconer. Working with raptors broadens his connection with nature and inspires his sculptures. He even lives with falcons in his home.
“Being a falconer validates my connection to wild things in wild places. I think that it’s important for people to remember that we’re not separate from nature — we are part of it, and I think that the more that we connect with it, the healthier mentally and physically we are,” he said. “I own wildlife art (from) friends that are painters … and having their artwork in my home gives me a sense of connection. I share the stories that they put on canvas, and it contributes to that connection.”