After studying at the ANU School of Art, it became clear to Phil Spelman that he’d need a little bit of help to get through the first part of his career as a young sculptor.

Commissions were not coming in too quickly in those early years.

So, he took a job as a Technical Officer for the glass workshop at the ANU School of Art. That was 21 years ago, and he is still a much valued member of staff.

But when he became a Technical Officer, he didn’t give up on his own practice. In fact, his dedication to his own work has seen his sculpture go from strength to strength.

Spelman recently completed all the travel that he took as part of the Helen Lempriere Scholarship that he received in 2012.

The scholarship itself is connected to the Sculpture by the Sea exhibition, and there is something about Spelman’s pieces that works well in that environment.

“It’s large and it’s bright,” said Spelman of the large metal sculptures.

“It suits the scale of the outside environment.”

Spelman’s sculptures are large, heavy and bright, with dynamic curves that translate well to the vibrancy of the Australian beachside environment.

But a beach like Cottesloe or Bondi is very different from a beach in Denmark, which is one of the places that Spelman exhibited as part of the scholarship.

“The beach is flat in Denmark. They only get a six-inch tide, and the water is very still,” he said.

The translation of the bold  Australian sculptures to the beach-side environments in Denmark yielded some surprising results for Spelman.

“I think that the colour translated well, in the most part, but there is a different light in Denmark.”

Spelman had painted one sculpture bright yellow, and it was set for the Denmark show. When they nestled it into the dark green of the forest it actually changed colour.

“It was really dark green in the forest, and the colour was reflected on the sculpture. You can imagine the impact on a bright yellow sculpture!”

The Helen Lempriere Scholarship gave Spelman more than $30,000. It equipped him with some upgrades to his workshop and also the freedom to exhibit and explore in places he would never normally venture.

It is hard to venture far when you work full-time at the School of Art and also practice sculpture full time.

But Spelman says the time he spends at the ANU School of Art is imperative to his practice, even though he’s working in a completely different medium.

“The energy that the students bring to the school and bring to my practice I really enjoy. I think if I was just making my work in my studio I wouldn’t have anywhere near the output I do. I need the stimulating environment of the Art School to practice well.”