Rating is available when the video has been rented.
This feature is not available right now. Please try again later.
Published on Feb 4, 2015
Jamie Hamilton is one of the few Ice Sculptors in London. Prior to sculpting, Jamie studied English at Oxford then subsequently focused on a career in theatre; producing and directing plays. But it was the urge for craftsmanship which only Ice Sculpting could satisfy that lured him into the family business. He now runs the family ice sculpting business which was set up by his parents and hasn't looked back.
This film is part of 1000 Londoners, a five-year digital project which aims to create a digital portrait of a city through 1000 of the people who identify themselves with it. The profile contains a 3 minute film that gives an insight into the life of the Londoner, as well as their personal photos of London and some answers to crucial questions about their views on London life. Over the course of the project we aim to reveal as many facets of the capital as possible, seeing city life from 1000 points of view.
1000 Londoners is produced by South London based film production company and social enterprise, Chocolate Films. The filmmakers from Chocolate Films will be both producing the films and providing opportunities to young people and community groups to make their own short documentaries, which will contribute to the 1000 films. Visit www.chocolatefilms.com
How’s that? I studied English at University. I knew that I could go into the family business if I wanted to but I also needed to do something else in order to prove to myself that I wasn’t just taking the easy option. I didn’t study art or sculpture, I went and got other jobs, working in performance related areas. Ultimately the draw of ice pulled me back in. I grew up in a family where everyone was involved in ice sculpture. My mum ran the business, my dad was the sculptor and if I wanted any pocket money at the weekend and stuff like that then I had to get my boots on, pick up a chisel and make something. I loved it. At university and after I was working in theatres, producing and stage managing. I did a tiny bit of directing but realised that’s not quite my thing. It does't make me sad. In some ways it’s quite satisfying to see something deteriorate. It’s part of the sculptural process which is that you make something that then it deteriorates. That is kind of part of the essence of what you’re doing. And in that sense, it’s almost more like a performance. Like a live performance. Something that you see that happens at that time. You can capture it up to a point. You can photograph it, you can record it. But actually you had to be there to experience it. I’m not a very sentimental person. So I don’t get massively attached to the things. Making things is very important, understanding your tools, all the different techniques and stuff. And that element of it appeals to people who are quite practical and quite literal as well as very creative. And I think that probably keys in to why you don’t care so much about it emotionally after a certain point. If you present it and it’s a success, that really matters. Anything that you’re not happy with, I’m not happy with really does bother me. It’s not that I don’t care about that. But I don’t care about the fact that it ultimately dies. That’s fine.