"Untitled.1964"
"Untitled.1964"
For the moment this page will begin in 1964 at The Royal College of Art, where I
was completing a body of work modelled in clay, then cast into fibreglass using a modified waste mold process.
The first sculptures were derived from studies with abstracted evolving spinning and looping forms,
evocative of posture, gestures and motion in dance. Geometry provided the structural underpinning of the
sculptures, initially in their pedestals, though these ultimately became subsumed into the sculptures
themselves and they assumed their gestural roles in geometric form.
A commission by British Industrial Plastics provided the resources which
made these pieces possible, and allowed me to produce the body of work included In "The New Generation: 1965"
exhibition at the Whitechapel gallery.
My studio area at The Royal College of Art, 1964.
From a photograph by
Anthony Armstrong-Jones published in "Private View" by Nelson.
"The New Generation: 1965" at the Whitechapel gallery.
"Assume, Concede. 1964"
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The role of geometry in the forming and mold making processes became preeminent in subsequent sculpture, and the range of their subjects expanded further beyond the figure to invoke first personal, then shared, then achitectural and environmental space. The following sculptures, completed during my last years at the Royal College of art, 1965-6, show this evolution.
"Loveseat. 1965" |
"Stile. 1965" |
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"Siviley. 1965." |
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"Narcissus. 1965" |
"Couplet. 1965" |
"Marry Me. 1965" |
"Y. 1965" |
"A. 1965" |
"Slice. 1965" |
"Two Prisms. 1965" |
"Painted Steel Boxes. 1965" |
The Camberwell Studio.
On graduating from The Royal College I shared this studio in a railway viaduct arch in Camberwell with Stroud Cornock, a fellow RCA sculpture alumnus, from 1966-68. My work here, shown below, contiunued the theme of connected or juxtapposed geometric solids and fragments, generally set in close to, but larger than human scale arrangements.
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"Two boxes, Two Clyinders: Blue. 1967" |
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"Four Maroon Quadrants. 1967" |
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The sculptures below have been reconstructed from memory in 3D Studio Max© to provide colored representations for the website, in lieu of or to supplement contemporary images.
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"Four Prisms: Frame. 1967" |
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"Four Cylinders, |
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"Two Prisms, Two half Cones: |
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"Two quarter cylinders, |
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"Pitch. 1968" |
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The Ad Libitum Gallery, Fall 1968.
In 1968 I was invited to exhibit new work at the Ad Libitum Gallery in Antwerp, and designed my first panel sculptures for the exhibition, for fabrication in porecelain enamelled steel. As I was planning to visit New York for a second time also that Fall, and couldn't afford a return to Europe to visit the exhibition so soon after my arrival in the US, I arranged for John Panting to transport and install the work for me. I heard from John that he'd had some difficulty installing the work, but heard nothing more from the Gallery. The original documentation of the design and production of the works has been lost over time, so these images are of recently reconstructed computer models of the sculptures involved as I remember them. Each piece consisted of equally proportioned panels: Seven Panels, Eight Panels, and Nine Panels.
"Seven Panels, Red. 1968" |
"Eight Panels, Green. 1968" |
"Nine Panels, Blue. 1968" |
