For more than 50 years, British artist Phyllida Barlow has taken inspiration from her surroundings to create imposing installations that can be at once menacing and playful. She creates anti-monumental sculptures from inexpensive, low-grade materials such as cardboard, fabric, plywood, polystyrene, scrim and cement. These constructions are often painted in industrial or vibrant colours, the seams of their construction left at times visible, revealing the means of their making.Read More
Barlow's restless invented forms stretch the limits of mass, volume and height as they block, straddle and balance precariously. The audience is challenged into a new relationship with the sculptural object, the gallery environment and the world beyond.
'There's something about walking around sculpture that has the possibility of being reflective, like walking through a landscape," Barlow has said. "The largeness of sculpture has that infinite possibility to make one engage beyond just the object itself and into other realms of experience.'
Barlow has exhibited extensively across institutions internationally and in 2017 represented Britain at the Venice Biennale.
Text courtesy Hauser & Wirth.
There is palpable momentum behind the sculptural force that is Phyllida Barlow. Her latest operatic aria for the Royal Academy, fulfils every expectation of the acclaimed British sculptor: master of paradox, connoisseur of materiality and astute interrogator of space.
‘I wanted to refresh completely my attitude to sculpture.’ Phyllida Barlow discusses her exhibition tilt at Hauser & Wirth New York, 22 nd Street, and how it marks a new stage in her practice. For more than fifty years, the British artist has created sculptures and large-scale installations using a direct and intuitive process of making....
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