Nobody here but us(1991)<br />~painted aluminum <br />`555x595x945 cm<br />
Early Life<br />Born in Bangor, Wales<br />Traveled a lot at a young age because of his parents jobs.<br />Promising young artist in the 80’s <br />Started with performance-based art then moved on to monumental abstract sculptures.<br />he had seen some of Donald Judd and Frank Stella’s art and didn’t understand it at first but over time it became clearer to him, which became an inspiration<br />
Education<br />Somerset College of Art (1968-69)<br />St. Martins School of Art (1969-72)<br />Royal College of Art (1974-77)<br />Chelsea School of Art (1977-78)<br />Most of his college years were in london<br />
Distance No Object(1988)<br />~Painted steel and copper<br />~From San Fransico Museum of Modern Art<br />
“Not knowing is a good state of art.” -Richard Deacon<br />Works are almost always abstract<br />Usually constructed from everyday materials<br />Prefers to be called a fabricator rather than a sculptor<br />Often talks about the relationship between language and sculpture<br />Uses poetic titles for his artwork <br />400 artworks so far!!!!<br />(about 30 of them are of monumental size)<br />
Kiss and Tell(1989)<br />~epoxy, tumber plywood & steel<br />~From Arts Council Collection<br />
Between Fiction & Fact<br /><ul><li>A public commission for the museums park.
Influenced by the priniples that established american sculpture in the 60’s and 70’s.
works refer to architecture and the aesthetics of the industrial world.
he uses materials such as galvanished steel, hardboard, plywood and vinyl.
“it has simousity, atmosphereic sensibility and monumentality subtly disort “</li></ul>-Unkown journalist<br />
You(1988)<br />~wood, cloth, and epoxy resin<br />~From Marian Goodman Gallery<br />
Random Facts<br />At one point, he began to record his actions through writing to de-privilege the photographic movement<br />His artwork is always evolving because he says that it changes with his thinking <br />Is now represented in multiple galleries in western europe and the united states<br />“ The forms he creates evoke the material world of everyday artifacts and the inner world of the body, as a site of memory and language”<br /> -Unknown Journalist <br />
Art for other people # 22(1986)<br />~Glass, galavanished steel, and screws<br />~105x450x15cm<br />
Dead Leg(art criticism)<br />Description<br /><ul><li>Abstract in its mobility and fluidity
made from wood that was carved in a twisting motion and steel parts holding it together
The parts that look painted are from the wet oak and the steal reacting together
Seems to have a smooth texture</li></li></ul><li>Dead Leg(Art Criticism)<br />Analysis<br /><ul><li>The tannic acid gives it a shadowing effect
At one end it seems to form an abstracted square. Also at the other end it seems to form and abstracted circle that fuse together.
There are no sharp turns or straight lines.</li></li></ul><li>Dead Leg(Art Criticism) <br />Interpretation<br />I think Deacon made this sculpture (in association with Matthew Perry) to make a natural and lyrical figure. <br />He’s always talking about the relationship between language and sculpture. Well, that seems to be portrayed in the way that each section has its own unique pattern of twisting which could be interpreted into anything such as poetry, music, a story etc.<br />
Dead Leg(Art Criticism)<br />Judgment<br />The twisting of the wood makes your eyes keep following which keeps the viewer interested. <br />The way that the principles and elements are used, has been mastered, which goes along with its airy composition.<br />In my opinion, this particular piece does not speak to me. <br />I like its quality and how the natural coloring of the wood works with the tannic acid stains, but this is not one of my favorites.<br />Great formalism but not so much emotionalism<br />
Read Sea Crossing(2003)<br />~oak and stainsteel in two parts<br />~From Marian Goodman Gallery<br />
The Missing Part<br /><ul><li>This exhibiton holds 40 works over a 40 year time span