Berlin 00:00:00 London 00:00:00 New York 00:00:00 Chicago 00:00:00 Los Angeles 00:00:00 Shanghai 00:00:00
members login here
Region
Country / State
City
Genre
Artist
Exhibition

Blain|Southern: LYNN CHADWICK | RETROSPECTIVES - 1 May 2014 to 28 June 2014

Current Exhibition


1 May 2014 to 28 June 2014

Blain|Southern
21 Dering Street
London
W1S 1AL
United Kingdom
Europe
T:
F:
M:
W: www.blainsouthern.com











Lynn Chadwick, Stranger III, 1959
Bronze, 218 x 264 x 82 cm / (86 x 102 x 32 in),
Photo: Jonty Wilde


Artists in this exhibition: Lynn Chadwick


Lynn Chadwick
Retrospectives

Blain|Southern
4 Hanover Square
London, W1S 1BP

1st May – 28th June 2014

Private View: 30th April 2014, 6pm – 8pm

The directors of Blain|Southern and Blain|Di Donna are delighted to present the largest ever international survey of Lynn Chadwick's work, with three concurrent exhibitions in London, Berlin and New York.

Coming a decade after his major retrospective at Tate Britain, the shows will explore the sculptor’s 50-year career, with each offering a distinct curatorial flavour as envisioned by the exhibition designer Bill Katz.

Blain|Southern London will feature a range of seminal bronzes from the 1950s and 1960s, amongst them Teddy Boy and Girl (1955) – one of the works which earned Chadwick the International Sculpture Prize at the Venice Biennale in 1956 – as well as the monumental Stranger III (1959). These, along with Beast XVI (1959), Black Beast (1960) and Moon of Alabama (1957), serve to illustrate not only Chadwick’s unerring interest in human and animal forms, but the mainstay of his artistic practice; the manner in which he blurred the lines between figuration and abstraction.

While Chadwick is best known for his bronze works, on occasion he worked with other materials. To reflect this his group of Formica on wood ‘Pyramid’ and ‘Split’ sculptures – clean geometric shapes produced in 1966 will be shown in the main galleries. Downstairs a group of welded stainless steel beasts will represent Chadwick’s late exploration of the medium of steel in the late 1980s and early 1990s.

In addition, and coinciding with the Blain|Southern London exhibition, the Royal Academy of Arts will show four monumental steel beasts in its courtyard from 14th April – 16th May 2014, curated by Edith Devaney.

The three exhibitions will be accompanied by two new publications on the artist. Lynn Chadwick The Sculptures at Lypiatt Park will be available from May, while a second publication that will document the three exhibitions will be available in June.

For further information on the exhibition, please contact Mark Inglefield.
T: +44 758 419 9500 | E: mark@blainsouthern.com


Notes to Editors:

Known primarily for metal works often inspired by the human form and the natural world, Lynn Chadwick was one of the leading sculptors of post-war Britain. He first came to international attention at the Venice Biennale in 1952, showing work which eschewed the traditional sculptural traditions. Instead of marble, wood or stone, Chadwick and his fellow exhibitors at the British Pavilion embraced iron structures, plaster filler and industrial compounds. Four years later, Chadwick was awarded the coveted International Sculpture Prize at the 1956 Biennale, becoming the youngest sculptor ever to do so and beating the favourite, Alberto Giacometti.

Chadwick began his career in the architect Rodney Thomas’s office. Following war service in the Fleet Air Arm (1941–1944) resumed his work producing exhibition stands – work which involved the practice of construction. With the encouragement of Thomas, Chadwick created his first mobiles. Later he developed ground supports for these, transforming them into ‘stabiles’. At the same time, he was designing fabrics and furniture.

In 1946, aged 32, Chadwick moved from London to Gloucestershire. While living there he met many people who influenced his future, such as the owners of Gimpel Fils gallery in London, who displayed his first mobile in 1949, and also staged his first one-man show in 1950. The following year, for the Festival of Britain (1951), he produced a work called Cypress, which required him to work on a larger scale and in metal. During this period he was increasingly concerned with the supports of the ‘stabiles’, and eventually these transformed into sculptures without any mobile elements. In order to find an architectural or engineering solution to their construction, he had to learn to weld; through trial and error, he discovered many new techniques which became the bedrock of his artistic practice.

One such technique was the creation of armatures, which he made from steel rods welded together to form threedimensional shapes. He then filled these with an industrial compound called Stolit – a mixture of iron filings and plaster that could be applied wet – and when dry, chased to achieve the desired surface. This was sometimes textured, sometimes smooth, but always with the original rods still visible. Chadwick constructed most of his sculptures in this way, and in the late 1950s he decided to cast them in the more durable medium of bronze. The surfaces of the casts were then treated to achieve the subtlety of colour to match the theme he was working on. Later, he also cast in silver and gold.

In the 1960s, Chadwick became interested in both abstract and human form – and later, in the detailed observation of how a figure moves and the stances it might take. During the 1970s and 1980s began standardising these figures, and in doing so developing a personal visual ‘code’. Eventually most of the male figures had rectangular heads and the females had triangular heads (or flowing hair as in High Wind).

Chadwick often spoke of a general feeling that he was merely the craftsman. In an interview on the BBC Home Service, published in The Listener, 21st October 1954, he said: “It seems to me that art must be the manifestation of some vital force coming from the dark, caught by the imagination and translated by the artist’s ability and skill. Whatever the final shape, the force behind is… indivisible. When we philosophise upon this force, we lose sight of it. The intellect alone is still too clumsy to grasp it.”

Lynn Chadwick’s sculptures feature in the collections of most major museums, including MoMA, New York; Tate Gallery, London; and Centre Georges Pompidou, Paris.

About Bill Katz:

Bill Katz is an architect and designer who has worked with many leading artists including Anselm Kiefer, Cy Twombly, Francesco Clemente, Robert Indiana and Jasper Johns. He has designed exhibitions at the Centre Pompidou and the Grand Palais in Paris, the Royal Academy in London, and the Solomon R Guggenheim Foundation in New York and Bilbao.







SIGN UP FOR NEWSLETTERS
Follow on Twitter

Click on the map to search the directory

USA and Canada Central America South America Western Europe Eastern Europe Asia Australasia Middle East Africa
SIGN UP for ARTIST MEMBERSHIP SIGN UP for GALLERY MEMBERSHIP