David Gilbaugh: Orange Oak Teapot, 2008, sculpted teapot, 9”(W) x 17”(H), hand-built slab, B-mix stoneware paper clay with grog, cone 10 reduction, black stain brushed in crevices, water washed iron and rutile stain throughout, Winokur Yellow glaze on bark surfaces
David Gilbaugh: The Imaginist, 2009, sculpture, 21”(W) x 33”(H) x 23”(D), hand-built coil, B-mix stoneware, cone 8, black stain brushed in crevices, water washed iron and rutile stain throughout, interior - red engobe.
David Gilbaugh: Family Tree, 2007, sculpture, 6.5”(W) x 11.5”(H), hand-built coil, B-mix stoneware with grog, cone 10 reduction, iron, rutile, chrome and cobalt oxide stains
David Gilbaugh: Racemosa, 2011, sculpted teapot, 4”(W) x 11”(H) x 8”(D), hand-built slab, B-mix stoneware paper clay with grog, cone 10 reduction, black stain brushed in crevices, water washed iron and rutile stain
Permanent collection of the American Museum of Ceramic Arts
Suzanne Stumpf: Interactive Sculpture No. 9, detail
Suzanne Stumpf: Interactive Sculpture No. 9, 2008, 16”h x 8”w x 8”d, wheelthrown porcelain with handbuilt components; black slip and shellac resist; oxidation fired to cone 10
Although Interactive Sculpture No. 9 appears at first glance to be some sort of game, there are no rules here. It is intended for the playful pleasure of the viewer to arrange the sticks with their different colored tips entirely to their own whim. (When all the sticks are removed the work is a trompe l’oeil with the raised black dots hiding its holes.)
Wild Life - Winter Group Show, StolenSpace Gallery, London
02.12.11 - 18.12.11
Artists interpretation of the living world in Sculpture, Painting & Installation.
The wild life of wildlife.
A flower growing through the crack in the pavement, the ivy scaling the fascia of a building, camouflaging, cloaking, pulling it to the ground, the tree growing around a concrete pillar, engulfing it slowly, morphing year on year. The birds nest in the rafters of a roof, made up of twigs and plastic ties, the nested young being fed the preservative pumped, calorie powered garbage bin rewards. These are glimpses of wildlife interacting, adjusting, adapting to the environment that we’ve created, over, around, on top of it, the once green meadow now a sea of steel work, glass and poured concrete, trees confined to their architect planned and perfectly aligned boxes.
But our wild life, this wildlife is playing a slow game, a slow deathly dance between the static, lifeless concrete structures we’ve built and the unstoppable force of nature. Adapt or be adapted, adjust or be adjusted, remember me? I was here before you, I’ve always been here, you need me, I am life.
Is mother nature reclaiming our temporary oasis or is it adapting to the obstacles that we’ve put in its way or are we now having to listen to the reminder that this place is not ours, we are simply borrowing it?
Josie Morway (Painter)
Rose Sanderson (Painter)
Jennifer Murphy (Collage)
Kelly Allen - (Painter)
D*Face (Mixed media)
Dan Witz (Mixed media)
Jake Wood Evans (Painter)
Roxanne Jackson (Sculptor)
Kelly McCallum (Sculptor)
Jessica Joslin (Sculptor)
Kai & Sunny (Mixed media)
Katja Holtz (Painter)
Renhui Zhao (Mixed Media)
In wilderness I sense the miracle of life, and behind it our scientific accomplishments fade to trivia.
How long can men thrive between walls of brick, walking on asphalt pavements, breathing the fumes of coal and of oil, growing, working, dying, with hardly a thought of wind, and sky, and fields of grain, seeing only machine-made beauty, the mineral-like quality of life.
If I had to choose, I would rather have birds than airplanes.
- Charles Lindbergh
The Old Truman Brewery
91 Brick Lane
London E1 6QL
+44 (0) 207 247 2684
Brian Kakas: Tectonic Perceptions – Wing Series, 2011
White stoneware, slab built, 29” H x 24”W x 24”L, Anagama Fired
Brian Kakas: Dimensional Transitions Series #3, 2008
White Stoneware, slab built, 38” H x 29”W x 33”L, Cone 7 Reduction
Barry Flanagan was one of the most radical sculptors of his generation. Though best known for his statues of bronze hares, his earlier work, in materials as varied as cloth, plaster, and sand, show how he challenged the very idea of what sculpture could be. Fellow artist Peter Randall-Page shares his memories of his close friend. Download this video.
Barry Flanagan: Early Works 1965-1982, Tate Britain
27 September 2011 - 2 January 2012
Barry Flanagan was one of Britain’s most original and inventive artists and a key figure in the development of British and international sculpture. He is best known for the large-scale bronze hare sculptures that he began producing in the early 1980s and that can be seen in many galleries and public spaces around the world. The success of these pieces has tended to obscure the equally important and very different work that characterised his early period. Made from materials as varied as cloth, plaster, sand, hessian and rope, these works highlight a concern with material properties and processes - a concern that is at the heart of his practice.
A contemporary of Gilbert & George, Flanagan studied sculpture at St Martin’s School of Art from 1964 to 1966. The exhibition takes this period as a starting point and reveals the impact of this early work on his later development towards casting in bronze, which he began in 1979. This is the first major retrospective of Flanagan’s work in London since 1983, and by focusing on his early works, shows how this radical and imaginative artist challenged the very nature of sculpture in his time.