Each sculpture begins with a hand-drawn sketch – sometimes leading directly to stone carving, other times evolving into clay or digital maquettes. While English stone remains his signature medium, prized for its generational longevity, Martin’s exploration of alternative materials has expanded his expressive vocabulary and enabled the creation of unique indoor pieces alongside monumental works. Whether chiselled from ancient stone, bronze cast or made with contemporary resin, Martin Cash’s sculptures invite viewers into a world where physicality meets emotion – each unique piece a tactile narrative shaped by vision, precision, and passion.

Whilst most of Martin’s work has been carved in stone, increasingly the scale and form of some pieces he design make the stone medium impractical – especially when the piece requires heavy stone to be supported on a thin column: consequently he has decided to create work that is cast in Bronze or moulded using iron and bronze resins. This has opened new and exciting opportunities fboth in the breadth of media he now work with and gives the ability to replicate.

‘The Space Between’ is his first major work using iron resin. It explores the idea that the empty space separating two people can be as meaningful as the people themselves. The two figures incline towards one another without touching, leaving their relationship deliberately unresolved — it might suggest connection, distance, understanding or silence. The viewer is invited to enter the space between them and, in doing so, become part of the sculpture. It forms part of a developing series exploring space — between people, within ourselves, and the unseen spaces created by memory, absence and connection. The figures stand 1.7 and 2 metres and the iron resin colours, which change with the seasons and weather,

‘The Space between’

Martin is a member of The Artisan Collective, Oxfordshire Arts Society and Cotswold Sculptors he exhibits throughout the UK and his work is sold and collected by a growing international audience..

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