Master of Monochrome: Geoffrey Lignon on Africa, Buffalo, and Rigby Art

Volume VII Issue IV front cover is by French artist and engraver Geoffrey Lignon, who heads up the art department at London gunmaker John Rigby & Co. Here, he tells us about his deep connection to Africa, hunting buffalo and managing nine different artists.

What is it that drew you to Africa in the first place?

My connection with Africa is deeply ingrained and has led me to visit the continent five times, with four of those visits to Namibia. From a very young age, I was captivated by Africa’s allure and iconic wildlife, especially the Big Five. I have vivid childhood memories of sketching elephants and rhinos, and my fascination with Africa was nurtured by watching documentaries on National Geographic and hunting channels. This profound connection with Africa has been a lifelong affair, etched into my soul, and it will always be a part of me.

How has your art evolved?

My artistic and engraving evolution stems from a willingness to experiment and discover new techniques. I prefer following my unique artistic path rather than dwelling on others’ work. For my artwork, the process involves meticulously selecting emotionally resonant photographs from social media, securing permissions, and then setting to work without time constraints. This artistic freedom allows me to create when inspiration strikes. I foster a deep sense of satisfaction and accomplishment upon completion, driving my continuous growth as an artist.

You specialise in drawing African animals. What draws you in particular to these subjects?

My profound love for Africa, particularly Namibia, has been a lifelong passion. I’ve visited Africa multiple times, with a dream of eventually living in Namibia, a place that has captured my heart. Recently I fulfilled my dream of hunting an old and formidable Cape buffalo in Zimbabwe with Tanya Blake Safaris. Every time I visit Africa, I am overwhelmed by the desire to make it my permanent home, and I’m actively working on building a house in Namibia to solidify this deep connection.

Can you share with us any anecdotes from Rigby Art buyers about how they’ve engaged with your art and any feedback you’ve received?

I recently worked on an elephant commission, a nine-month project. The client gave me the freedom to work at my own pace. When I completed the first section, focusing on the elephant’s trunk, the client remarked that she could feel the texture in the artwork, nearly bringing her to tears. The most heart-warming moment was when she saw the finished piece, shedding tears due to the emotion it evoked. Such feedback is the highest compliment an artist can receive, connecting with people on a deep emotional level.

Where do you envision taking Rigby Art in the future?

Rigby Art aims to achieve the same level of success as Rigby’s return to the UK over the past 10 years. The plan includes recruiting new artists with fresh ideas, aiming to establish Rigby Art as a leading name in the world of hunting art. Our ultimate goal is to become the go-to choice for customers seeking hunting-related artwork, providing them with a wide range of options.

Will you have a gallery in the future?

In the new Rigby building that’s underway, we are planning not only a gun showroom but also a gallery space. Each new artist we bring to the table brings something fresh and distinctive to our collection. We aspire to make this gallery a point of reference in the world of hunting art.

For a deeper dive into the iconic Rigby guns and their part in Simon K. Barr’s legendary MacNab Challenge, click here.

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