“HEADS - solid, in air, in space...Heads hollowed and filled with space...
HEADS TO FIGURES - to figures solid, hollowed, in air in space, supported...
SO FROM SHAPE, weight, surface, grain, colour; so from all that is perceptible and perceived, all dimensions, of earth and of man – Ideas.
SO FROM IDEAS - the realised play of the absent and the present; the sculptor’s ultimate dances of volume: the Inventions.”

Geoffrey Grigson

These words are taken from Geoffrey Grigson’s introductory text to Heads, Figures and Ideas, a Henry Moore sketchbook published in 1958, the title of which has also inspired this exhibition.

For the past few years we have taken the opportunity to show new sculpture in the gallery during the summer. Studies of the human form unify this exhibition which also includes painting and drawings. The work is mainly figurative and includes a variety of materials: bronze, iron, aluminium, plaster, polychromed wood even lead.

Peter Osborne and Gordon Samuel

The gallery opening times are:
Monday to Friday 10am – 5:30pm
Saturday 10am – 2pm (the gallery is closed on Saturdays during August)
Figure IX, 2006
Polychromed wood
H115.5cm (excluding base)
Ana Maria Pacheco
(b. 1943)

Ana Maria Pacheco is a painter, sculptor and printmaker who was born in Brazil in 1943 and has lived in England since 1973. Her work deals with issues of control and the exercise of power, drawing upon the tensions between the old world of Europe and the new world of her Brazilian birth.

She was the fourth National Gallery Associate Artist and mounted an exhibition between 1999-2000 at the National Gallery to recognize this period. Then Gallery Director, Neil MacGregor, wrote in the foreword to the catalogue:

‘Pacheco is the first Associate Artist who is not European. She was born in Brazil and her work reflects the rich diversity of a culture steeped in a Roman Catholic tradition, with an admixture of African art reminding one of the slave trade’s links with Brazil, an art education system promoting international modernism, and a highly developed sense of national identity. In Pacheco’s case her long residence in Britain has added many other elements to the mixture, leading to a totally independent trajectory as an artist, unmoved by fashion.’

We will be holding an exhibition of Ana Maria Pacheco’s work in 2007.

Figure V, 2006
Polychromed wood
H117cm (excluding base)
Sean Henry (b. 1965)

Sean Henry’s figures stand on a stage but the stage is invisible and the figures seem momentarily frozen. They form a part of their environment because they are from it, the everyman, real and yet fabricated.

Through these individually painted bronzes, which the artist hand-paints using oil paint directly onto the bronze surface – what emerges is an unnerving sense of experience echoing the spectator’s sympathies with both the figure and the human condition. There is an aching empathy inherent in his single portrayals and group compositions where each sculpture is like a three-dimensional painting infused with character and life. This technique draws the spectator into a contemplative dialogue which reflects on the nature of our own humanity.

Henry has been exhibited widely throughout the United States and Europe and his work is in many international public and private collections.

Crouching figure from ‘You are not the same’, 2005
Bronze and oil paint
Edition of 5
H33cm, Base: 91.5 x 56 x 56cm

Great Western Man, 2005
Bronze and oil paint
Edition of 6, H86.5 cm

Sic Transit Gloria Mundi, 1999
Bronze and oil paint
Edition of 5
203 x 130 x 66 cm
Steinunn Thorarinsdottir (b. 1955)

Steinunn Thórarinsdóttir is an Icelandic sculptor from Reykjavik. She has exhibited internationally and her works are in private and public collections worldwide.

Situation I, 2006
Cast iron and glass
Edition of 7
37 x 30 x 30 cm

Situation II, 2006
Edition of 7
35 x 35 x 35 cm
‘Steinunn Thorarinsdóttir´s works are a personal interpretation of the nature of Iceland and it´s narrative tradition as well as her own reflections of our contemporary society. With precision, they visualize the alienation and the problems we face in our present age’.

BERA NORDAL former Director of Malmö Konsthall
Steinunn´s sculpture is elemental, extracted from material at it´s rawest; iron, glass, aluminium. The human figures are formed by the mass of the metal, taking shape as they emerge into the light from a molten swamp, rising up and stretching out, embracing our world but not of our world. There is solitude and pathos, but also strength and dignity. Great sculpture resonates with its environment, and Steinunn´s work is at its most powerful and provocative when it re-defines its natural surroundings. Her figures stand apart, as sentinels and observers of a barren yet beautiful land.

‘Voyage’ Hull

‘Voyage’ Iceland
Steinunn’s most recent commission, two monumental figures looking toward each other across the ocean.

Self portrait, 2006
Also available in bronze, edition of 9
55 x 28 x 27cm
John Williams

‘In moving from realistic representation to abstract language a sculptor can selectively minimise forms or exaggerate proportions in order to make the viewer look at the figure in a different way...I am interested in the attainment of a recognisable, individual likeness and try to capture in my work the vulnerability of human individuality. I want to make portraiture that penetrates the character of the sitter’

John Williams

Sleeping Father, 2004
Edition of 9
160 x 33 x 40 cm

Veritas Vespasiani, 2005
Plaster on wooden plinth
Also available in bronze, edition of 9
56 x 31 x 33cm
Anna Gillespie (b. 1964)

In these two modelled works by Anna Gillespie the cloth that binds the figures serves both to partially conceal the body’s forms whilst at the same time more fully revealing the internal emotional state of the figures. In Still:Together a further tension is evoked between the states of intimacy and captivity, a theme often present in the work of this sculptor. In the bronze Blown Away however, the tension is between the static external appearance of the figure and the emotional force and movement implied by the cloth.

Anna now works in Bath where she lives with her young family.

Still: Together, 2006
Crystacal plaster for bronze
Proposed edition of 9
84 x 24 x 14 cm

Blown Away, 2006
Edition of 9
53 x 27 x 13 cm
Peter Burke (b. 1944)

‘Central to my work is the idea of human presence. I feel we have a predisposition to recognise and read the human form with an intensity that accords to no other visual activity.’
Watch, 2004
Steel and reclaimed printing type
Edition of 5
19 x 110 x 20 cm
Peter Burke has exhibited both in Britain and internationally. His work is held in private collections across the globe.

He works with man-made materials which interact with their surrounding environment to evolve with natural weathering processes.

Often in groups but sometimes a lone figure, the human form is a theme which runs through all his works. With his engineering background, he has incorporated this interest in industrial working methods into his sculptures. The precision which characterises these methods encounters the accidental of the reclaimed materials and the natural processes of change.

In these works we see the structures of engineering meet with the fragmented form.
John Davies (b. 1946)

Davies works in a dramatic range of scales from small pieces to giant heads. Finely delineated features are contained in each work, the detailed textures indicating character and feeling and other aspects of the human condition. His continual fascination with and exploration of the human form can be appreciated in these words:

‘My work has carried me closer to people - in a kind of circle. My sculpture seems to have that function for me. If it does the same for other people that would mean a great deal to me.’

John Davies is based in London

Head of PW, 1983
Peter Wicks, a train driver from Faversham
Glass fibre and polyester resin with stone dust
Modeled in clay then a plaster taken as the mould
32 (H) cm

Face, 1986
Pastel, crayon & pencil
68.6 x 48.3 cm
Peter Kinley

All Kinley’s works are autobiographical. They are distilled records of places where he lived, people he knew, objects and paintings he admired and moods he experienced. They transform the transient, visible public world and the artist’s feelings and memories into emblematic images. They are also about reconciliation, the fusion of method and image.

‘I try to make paintings that are strong enough to remain in the memory even after a brief encounter. My paintings are formal reconstructions of experience and could be seen as equivalents for the circumstances which were their original motivation.’
Untitled (Standing Figure), 1963
Oil on canvas
183 x 137 cm
Tony Bevan (b. 1951)

Tony Bevan is an English painter whose painted figures suggest extreme psychological states.

He uses charcoal and intensely chromatic acrylic paint to imbue his paintings with a distinctive and rich, scorched appearance. Bevan developed his psychological portraiture throughout the 1980s and 90s. The underlying existentialism of his later work recalls the paintings of Francis Bacon, Bevan’s obsession with open mouths providing another point of comparison. The tense frontal aspects also bring to mind the Expressionistic portraiture of Edvard Munch, the pose embodying states of anxiety, introspection and despair.
The rawness and directness of these works also reveals the influence of Philip Guston, who evoked a similar sense of alienation and embittered survival.

John-Paul Stonard, 2000 (Tate)
Head and Neck, 1994
Raw pigment, acrylic and charcoal on paper
121.92 x 81.28 cm
For further information on any of these works please contact Brian Porter at the gallery: Bporter@osbornesamuel.com
T: 020 7493 7939
F: 020 7493 7798
Web: www.osbornesamuel.com
E: info@osbornesamuel.com
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