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Sculpture 30/40cm tall made of glazed ceramic , yarn and wood

Ceramic Elements - resembling flint shards. Some tooled by neolithic man , some napped flint flakes found in West Dean walls.

Worked surfaces faceted and glazed in breaking celadon gloss glaze or oil spot glaze

Natural surfaces resembling the exterior of found flint nodules made smooth and glazes with matt white crawling glaze .

Soft Elements

Soft planting at West Dean.

Crochet domes or similar ( un resolved as yet ) in colors as seen in October

Strung together to drape around the base of the sculpture . Left free to reposition as the viewer pleases . - Antiform .

Reflects how the occupants of Westdean continually change the garden

Base

A slice of West Dean tree trunk ?

Materials link with place.

Routed to accept ceramic pieces

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Hand of man at West Dean- use of flint, Changing landscape/gardens.

Flint as a defining material at West Dean.

Contrasts-

Soft and hard

Flat /faceted and textured

Gloss and mat

Tooled and geologically natural

Sharp and smooth

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The British Museum (1968)Flint Implements: an account of stone age techniques and cultures (3rd Ed.)London: William Clowes and Sons.

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Clay tests . Sharp edges -natural flint. Knapped edges , tooled flint . Pinch pots and solid clay ready to texture in 3d 

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David Lodge (2000) Care and Repair of Flint Walls (technical pamphlet 16) Oxfordshire: Uniskill

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Challenging to construct an unusual shape with slabs!

Unsure whether to leave my tool marks . I have sponged the depression in each facet but still leaving some of my marks .

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Large slab built and small solid (and hollowed ) pieces ready for biscuit firing 

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Back blown , not dried enough

Use as test

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New British sculptor

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Tate Britain is delighted to present a major exhibition of the Turner Prize winner Richard Deacon, a leading British sculptor, best known for his large, lyrical open forms.

In a career spanning more than four decades, Richard Deacon has employed materials ranging from laminated wood and polycarbonate to leather, cloth and clay, examples of which are included in the exhibition. He works on both domestic and large scales, combining organic forms with elements of engineering. His continuously changing methods of construction are a result of developments in his sculptural approach, reflected by his use of sinuous bent wood, contorted steel and highly glazed ceramics.

This exhibition at Tate Britain highlights Deacon's interest in materials and their manipulation, as in After 1998, a large wooden work where the continuous and looping form balances volume and space. Also included are works from the small scale but materially rich series Art for Other People 1982- , that explore the notion of contemporary art being owned and enjoyed by anyone. Of particular note are Deacon's early drawings It's Orpheus When There's Singing 1978: a suite of drawings built up from complex compound curves that influenced the organic forms of much of his subsequent sculpture, and the large, sixty-part, green ceramic sculpture Fold 2012.

Throughout his career Deacon has placed as much emphasis on language as he does on materiality. This reflects a deep-rooted interest that stems from his reading of poetic, philosophical and other texts. Like his infinitely varied and continually evolving work - represented in Tate Britain's Linbury Galleries by some 34 examples - Deacon cannot himself be pinned down to one style or subject matter. Only the principles of draughtsmanship and an emphasis on hands-on experimentation are constants throughout his career, while in that time he has also been lauded as a distinguished writer and educator.

This exhibition is curated by Clarrie Wallis, Curator, Modern & Contemporary British Art with Sofia Karamani, Assistant Curator, Contemporary British Art. It will be accompanied by a major book on the artist by Clarrie Wallis and a programme of talks and events in the gallery.

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In February 2014, Tate Britain presents a major retrospective of the work of Turner Prize winner Richard Deacon

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Wilding, Alison ( 2024 ) Testing the Objects of Affection, Exhibition. (website ) accessed 15/10/2024 . https://alisonjacques.com/exhibitions/alison-wilding-testing-the-objects-of-affection

Wilding often pushes together and juxtaposes unlikely relationships between materials including wood, rubber, paper and sand, focusing on her continued exploration of balance, weight and line.

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Alison Wilding: Testing the Objects of Affection – Alison Jacques

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Robert Morris

Antiform

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Around 1980 there can be seen to have been a general reaction in western art to the predominance of minimal and conceptual art in the previous decade. In painting this reaction took the form of neo-expressionism and related phenomena. In sculpture there was a notable return to the use of a wide range of techniques of fabrication and even the use of traditional materials and methods such as carving in stone and marble. Figurative and metaphoric imagery reappeared together with poetic or evocative titles.

In Britain a strong group of young sculptors emerged whose work although quite disparate, quickly became known as new British sculpture.

The principal artists associated with New British Sculpture were Stephen Cox, Tony Cragg, Barry Flanagan, Antony Gormley, Richard Deacon, Shirazeh Houshiary, Anish Kapoor, Alison Wilding and Bill Woodrow.

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Tate glossary definition for new British sculpture: Term applied to the work of young British sculptors in the 1980s who, in reaction to minimal and conceptual art, adopted a more traditional approach to materials, techniques and imagery

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Soft and hard edges . Texture and smooth facets

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Begged and borrowed materials for soft element of sculpture 

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Begged and borrowed materials for soft element of sculpture 

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Need to learn to crochet !

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Home made crawl glaze for external surfaces. Caledon and home made   oilspot for interior facets 

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Monolithic figures

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Artist Page | Richard Long — NewArtCentre.

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(1945 -) To make his art, Richard Long sometimes walks hundreds of miles through some of the most beautiful wilderness landscapes of the world. He has made walks in Patagonia, Africa, Alaska, Mongolia and Japan, as well as in his local English landscape. The art he makes from these walks takes the f

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Constructed cardboard and plastic packaging model to work out form and construction for larger piece .

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Changed to paper clay for strength .

Large piece - Neolithic Tools

Smaller piece - Shards of flint found in West Dean Walls

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Struggling !

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Intend to string these together for the viewer to drape around the flint sculptures . - 'Antiform'

References how the gardens change in time/trends/ occupants of the house / Head Gardner

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Caledon Glazes - good breaking and colour but fired too high

Oil spot - visually effective but runs on a vertical surface and covers breaking edges .

Next firing to 1250c with no soak.

Matt white - not enough impact

Lichen glaze - successful

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Pleased with the results of the form and the glazes .

Next test pieces -

-Oil spot at a lower temp and on non breakng facets

-Celedon at a lower temperature

-Try lichen glaze at this lower temp , will it perform ?

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I have learnt how to make basic crochet forms but do not enjoy the process .

After making decisions on color , texture and form I find the activity boring .

The results are only ok... a bit 'crafty '

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Decisions on form,

Consideration of each facet ,

Contrast of texture and sheen

Colour

Links to

legacy of place

hand of man

material

ceramics as a process ( linked to flint )

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Unhappy with crochet forms

Too many ideas

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1. Seek advice how I can add soft elements to my piece and a base ?

2. How to make it changeable by the viewer

3. How November and December practical blocks might inform .

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Ceramic pieces with soft forms .

Not successful , too busy

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More successful with neutral colors but the textures fight with the ceramic

May not continue with the soft forms

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Making a plain plaster base

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Rabbit skin gesso with extra chalk added as an alternative powdery matt surface for the ceramic pieces to sit on .

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Pieces sitting on soft white cloth

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On a wooden block - unsatisfactory . Will therefore will not be sourcing a slice of tree trunk from West Dean Estates

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Wooden block and paper - ceramic pieces sit well against a flat light matt surface .

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Test plaster base in 3rds

1.Chalky rabbit skin gesso - smooth

2.Plain plaster -gently texture

3.White emulsion- too bright

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A plaster base .

A chalky, plain surface

In addition to the positioned larger pieces , a number of smaller pieces for the viewer to pickup and hold in their hand and put back in an arrangement as they please .

possible figure incorporated in one of the small pieces

Stone ware paper clay

Glazes -

High gloss for the flint

Celedon grey and blue grey

Oxblood glaze

Block oilspot with white coat x2

Textured matt for the exterior of the pieces

White lichen glaze - one coat

All fired at 1250c no soak

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During the field work block I experimented with the soft forms , deciding against continuing with this line of enquiry.

too much color

too much texture

crafty

my heart wasn't in it

However , still want to explore a flexible piece where the viewer can hold the small forms in their hands and rearrange as they chose .

This references.

The hand held tools of the stone age inhabitants of West Dean

How those living on West Dean estate change the landscape .

How the flint , as a material , moves in the landscape . Exposed from the chalk through erosion, shifting around in streams and its use as a building material in the walls of West Dean .

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Inspired by Vanessa Rolf, piece made from layers of canvas cut out to represent contour lines of Wesr Dean Estate . Bonded together and over stitched with further contour lines. Resolution to the challenge of finding a surface that ....

Shows the landscape

Has a soft matt surface

Neutral colours

Does not conflict with the ceramics .

Interesting to create.

Also test wool felt and scrim

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Constructing a figure embedded in the flint

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Fired figure .

Although bright white , provides a pleasing contrast to the darker small pieces.

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Large objects with smaller pieces for the viewer to pickup and replace as they would like

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Wool felt overlay .

Experimenting with addition felt pieces to reference contours of the Downs .

Decided against this as it felt too busy and distracted from the main pieces

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Felt cut into a natural shape .

Place on plaster slab or white plinth .

Position at waist level

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Linda Bloomfield (2020) Special Effect Glazes. London: Herbert Press.

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I am happy with the final piece .

It covers the ideas that I wish to include , but also, and very importantly, it is aesthetically pleasing .

I have enjoyed the process and the challenge of problem solving .

I am proud of the final outcome and would like to pursue 3d forms further

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Textile and stitch

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Visit

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Henry Moore Studios & Gardens

Seventy acres of Hertfordshire sky above seventy acres of studios, workshops and art.

Experience Henry Moore's iconic work with a visit to the artist's former home and sculpture gardens.

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Outdoor display

Vitality: The Human Landscapes of Henry Moore

Studios & Gardens, Hertfordshire

Digital Soundscape

Listening/Mapping by felix taylor

Studios & Gardens, Hertfordshire

Volunteer open morning

Volunteer open morning: tour guides & gardeners

Studios & Gardens, Hertfordshire

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Henry Moore Studios & Gardens | Henry Moore Foundation

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Skip to main content Henry Moore Studios & Gardens Seventy acres of Hertfordshire sky above seventy acres of studios, workshops and art. Experience Henry Moore's iconic work with a visit to the artist's former home and sculpture gardens. Our exhibitions and events are included in your annual ticket, unless otherwise stated.

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Short Course 18th Jan 2025

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The aim of this course is to develop a language and way of translating ideas about space, material, scale and form into what your tutor calls ‘architectural sculpture’

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After attending a short course on architectural sculpture and experimenting with plaster I have produced this base .

Plaster was run out on crumpled foil and contained within cottle boards .This gave the effect of undulation in the landscape and strata in the chalk .

I found this to be a more complimentary base than the felt .

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I am happy that this final piece as it covers my ideas and is aesthetically pleasing.

I have enjoyed the research , exploration of materials and problem solving .

For the first time have placed myself in the shoes of the viewer and considered the wider exhibition setting .

I would like to persue sculpture and incorporate different materials within the next piece