Erskine, Hall & Coe is pleased to present an exhibition of the work of James Tower in February. This will be Tower’s first solo show in London since 1986.
James Tower is one of the most distinguished ceramic artists of the 20th century. His ceramics are unique for their visual effects which suggest that he responded to nature and his environment. He became an established artist in the 1950’s and exhibited alongside such artists as Barbara Hepworth and William Scott. A goal of Tower’s was to achieve a quality in his work that ‘is perhaps best defined as a sense of completion. A longing for a serene harmonious whole which contains dynamism and vitality, satisfying our intellectual and spiritual needs.’ —James Tower
Tower’s work was reminiscent of the world around him. He worked to develop an abstracted style of the natural environment:
There is a sense of water running between rocks, patterns on a butterfly’s wings, spots on a fish’s skin, clouds on a wintery day, stripes on a zebra’s back, ribs of a human chest and the multiple leaves of a compressed succulent in the myriad forms of James’s work. His genius was to synthesise and make of these inspirations in which he delighted things in themselves (excerpt from Anthony Gormley’s introduction in Timothy Wilcox’s book, ‘The Ceramic Art of James Tower’).
Born in Kent in 1919, Tower studied at the Royal Academy, and then at the Slade School of Art, where he discovered an interest in English slipware and became fascinated with ceramics. During the 1960’s and 70’s, he was Head of Pottery at the Bath Academy of Art in Corsham, and Head of Sculpture at Brighton Polytechnic.
Tower’s artwork is owned by many public collections throughout the UK and the United States, including the Victoria & Albert Museum in London and The Art Institute of Chicago.
The exhibition at Erskine, Hall & Coe will comprise of twenty-five vessels, plates and sculptures, and is fully illustrated on our website. The gallery has worked very closely with James Tower’s family and with Timothy Wilcox, author of the book ‘The Ceramic Art of James Tower,’ to put this exhibition together. Wilcox’s book will be available for purchase at the exhibition.
James Tower and Contemporary Ceramics / Gimpel Fils, London
April 26 - June 9, 2012
Private View: Thursday 26 April, 6-8 pm.
Uniting art, design, sculpture and craft, James Tower holds a unique position in the history of British ceramics. As an artist who consistently challenged the perceived limits of his medium, throughout his career Tower explored the sculptural and painterly potential of ceramic forms. His vessels, plates and sculptures are exhibited here alongside recent works by six contemporary artists in order to demonstrate that the questions he grappled with have yet to be resolved.
This exhibition explores the continuing problem of how artists who work in ceramics are classified: ceramist; sculptor; painter; artist. The relevance of these definitions is actively tested by the artists included in this exhibition, all of whom explore their ideas in multiple mediums. At Brighton Polytechnic Tower was Head of Sculpture, and yet his ceramic works were not regarded as such. Indeed, his sculptures and drawings were overlooked during his lifetime. Displaying objects and drawings together, Nicholas Lees explores what he regards as the porous membrane between ceramics and sculpture in order to demonstrate their reciprocity.
Placed side by side works by Tower, Gordon Baldwin and Ken Eastman encourage a dialogue between sculptural shape, painterly surfaces and, indeed between sculpture and vessel. Like Tower, Baldwin has utilized both sculptural form and abstract marks in his work, while Eastman’s engagement with colour, and Martin Smith’s exploration of light and surface demonstrate that to work in ceramics, is also to be a painter. The scratched designs, the striated lines and dashes over the concave or convex surfaces of Tower’s vessels and plates are indicative of his desire to create a synthesis between the form and surface.
Like his contemporaries, William Scott and Peter Lanyon, Tower sought to refine an abstracted style based on natural forms. The sea and its inhabitants provided motifs and compositional models that Tower adopted and adapted according to his artistic ideals; in Snow Forest, 1982, Tower’s use of textured surface is reminiscent of a shell, mollusc or crustacean. The universality of these natural forms find commonalities in Edith Garcia’s recent body of work Absence and Presence. In a series of pressed clay forms she considers our ability to find the human form in the most minimal of shapes, objects and natural phenomena. Caroline Achaintre has also looked to Lanyon in recent work; but her interest in modern art and its legacies defy categorical boundaries and as such might be understood as uncanny hybrids of utopian ideas and human emotions.