Royal Engineers, the pyramid builders

Writing about one of Carrick's students Hew Lorimer's works, Duncan McMillan drew comparisons between Carrick's Engineers plaque and the work of the great Renaissance artist Giotto (see next page). Carrick certainly admired and was influenced by the Renaissance artists. Like Giotto’s famous mourner lamenting over the body of Christ with her back turned to the viewer, Carrick's engineer writing in a note pad at the bottom left of the scene is enigmatic and could be anyone, the unknown soldier. However I believe that Carrick often liked to create art which worked on different levels, offering different interpretations, and it can be misleading to analyse what is a piece of sculpture within a frame of reference based on painting. I feel that the most important theme within the composition is that of shape. The shrapnel helmet of this soldier forms a circle. The circle appears again in the bicycle wheel beside him. The scene is filled with lines, cubes and arches. The dominant feature is the triangle or pyramid, indeed the overall composition of the work is based on the pyramid. In the left foreground a pyramid of three engineers plan the project. In the right background a second pyramid of three engineers reach to the height of the scene as they hoist up a section of girder while building a bridge which is itself constructed of a skeletal framework of pyramids. Carrick is using the language of the Engineers, the language of geometry, to represent them as the pyramid builders of the modern age.

The relief is also a fine example of Carrick's understanding of the importance of location and the use of light and shade. Most of the sculpture in the National War Memorial is in deep relief, the interior of the chapel is dark and heavy black shadows are cast on the other works in a charioscuro effect, creating a sombre atmosphere. In complete contrast to this Carrick preferred to work in shallow relief, avoiding the shadows and darkness of neighbouring works. Carrick's panels radiate in the subdued light from Strachan's stained glass windows in the East Chapel, pervading the scene and playing over odd features which become highlighted such as the telegraphist's fingers. The warm rich patina of the bronze seems to glow even in this low light. The result is a more spiritually uplifting image encouraging a more positive, life affirming reaction from the visitor.

The use of low relief enhancing the rich patina of the bronze is also reminiscent of a medal (a special branch of sculpture in which Carrick was interested) and this further imbues the panel with all the traditional military and commemorative iconography of the medal.