The Journey to Bronze – Grouse
August 10, 2026

Few places are as exhilarating as the heather moorlands of northern England.  These moors are alive with wildlife; red grouse, golden plover, curlew, owls and deer, all thriving within a carefully managed landscape.

My trips to research red grouse have taken me to Blanchland Moor in Northumberland, Priorsdale in Cumbria and Gunnerside in North Yorkshire. Spending time with the gamekeepers is an important part of every visit. Their knowledge of the moor, its wildlife and its seasonal rhythms, provide an understanding that simply can’t be found without visiting.

 

 

 

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Before a sculpture is made, I spend time watching, camera and binoculars in hand. Research is integral to my work, and all the footage I take and the knowledge I learn from those living and working there, comes back with me to the studio. It informs the process before I am even ready to begin sculpting. I have an enormous amount of research photographs that I have taken over the years, and these are all catalogued, waiting for their turn to be used.

 

Grouse Flushing 2019 was sculpted after visiting Blanchland Moor soon after The Glorious Twelfth, in August 2019. I specifically wanted to research a red grouse flying for a sculpture I had in mind. Red grouse fly low and fast, often making quick changes in direction, with their eyes level and often with beaks open. They were wonderful to watch and extremely challenging to photograph! Back in the studio, the challenge continued. I wanted to sculpt them as I saw them, weaving through the sky. The composition I settled on follows a sweeping arc, allowing the birds to appear suspended in flight without visible support.

Returning to the moors in 2026 gave me an opportunity to revisit the landscape with fresh eyes and a new mission, to research a brood of grouse. I travelled to Priorsdale and Gunnerside to research them. The more time I spend on the moor, the more I realise that you cannot truly understand grouse in isolation. Their behaviour is shaped by the heather, the insects, the weather, and the predators around them. Every sculpture becomes as much about the place as it is about the bird.

On this occasion, my intention was not simply to study red grouse, but to understand the landscape they inhabit and the intricate relationship between the birds, the moor and the people who manage it. Watching the grouse with their tiny, bumblebee-like chicks was one of the highlights of the visit. The keepers’ passionate knowledge about the birds’ behaviour and life cycle helped me understand details that are impossible to learn from photographs alone.

Red grouse are remarkably resilient birds and attentive parents, with both cock and hen playing a role in protecting the brood. It is these small observations that I hope give Grouse Brood 2026 its authenticity. In this sculpture, the chicks scramble over the heather almost like little reptiles as they hunt for insects. The cock bird stands alert on a rocky outcrop, watchful but relaxed, his scarlet comb lying flat rather than raised in aggression. The adults carry the crisp, sharply defined plumage and feathered legs of healthy wild birds, while the surrounding moorland plants have been carefully observed to root the composition in its natural setting.

Researching Grouse 2026

For me, wildlife sculpture is about far more than anatomical accuracy. It is about understanding how an animal behaves, how it moves and how it belongs within its landscape. Only then can the sculpture tell a story—not just of the bird itself, but of the place it calls home.

My thanks to all those at Blanchland, Priorsdale and Gunnerside who have helped me with my research.

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    Hamish Mackie
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