Alex Carrick was first appointed on to the teaching staff at Edinburgh College of Art in 1914 and became Head of sculpture in 1928. He had no formal training as a teacher but seems to have been one of those naturals who could inspire his students and enthuse in them his own passion for sculpture. As teacher and head of sculpture he had a lasting influence on Scottish sculpture, particularly in his encouragement of the craft of carving and he fostered a new generation of talented Scottish artists including Phylis Bone, Mary S. Boyd, Murray McCheyne, Elisabeth Dempster, Hew Lorimer, Scott Sutherland and Tom Whalen. Carrick not only instructed but also tirelessly and unselfishly sought out opportunities for his students. There are examples in his business papers of him recommending students to prospective clients instead of himself. A good example of this was the way in which he sought opportunities for his students to display works and make contributions at the Empire Exhibition.

Left - Scott Sutherland's Commando Memorial at Spean Bridge.

The headmaster of Wick Academy brought his young son, Scott Sutherland, to Edinburgh to discuss his son's ambition to become a sculptor. Carrick reassured the worried father and Scotty was soon back in the capital and enrolled at the college, embarking in a career which produced many notable works including the famous Commando Memorial at Spean Bridge.

Left - Alex Carrick taking a break at the Edinburgh College of Art. As a teacher Carrick was well known for taking a hammer to his student's armatures, just to check if they were strong enough for the job!

Right - 'Our Lady of the Isles' on South Uist, by Hew Lorimer. Lorimer's child is supported by its mother as the Outer Hebrides clings to the North West of the Scottish Mainland and European Continent.

Carrick was never part of the inner circle of artists favoured by Sir Robert Lorimer. However when his son Hew decided on an artistic career the great architect approached Carrick to ensure his son received the best training possible. Hew Lorimer went on to establish himself as a leading artist developing a clean style of carving in granite in which form was simplified without abandoning the figurative tradition. Lorimer favoured granite, a material which Carrick never worked in. Instead Carrick always favoured Doddinton stone quarried in the Cheviot Hills just over on the English side of the border, largely caving by hand without the use of pneumatic tools.