I first visited Havana in November 2016, a few days after Fidel Castro died, and just under a year before Hurricane Irma hit Cuba in September 2017. Since then, much has changed, including the hand-painted signs that punctuate the journey from the airport to the city centre, which today do not celebrate the revolution so much as the 'Unidad y...
The exhibition Beyond Boundaries at Somerset House in London (12 March–2 April 2019) marked the historic contributions of the Central Academy of Fine Arts, Beijing (CAFA) and the Slade School of Fine Art, University College London, on the occasion of their 100th and 150th anniversaries, respectively. Spread across several rooms of Somerset House's...
The National 2019: New Australian Art features work by 70 contemporary Australia-based artists split across three venues: the Art Gallery of New South Wales (AGNSW), Carriageworks, and the Museum of Contemporary Art Australia (MCA) (29 March–21 July 2019), as curated by Isobel Parker Philip, curator of photographs at AGNSW; Daniel Mudie Cunningham,...
Waddington Custot is pleased to present an exhibition of new work by American sculptor Jedd Novatt. The exhibition will comprise of new, large-scale sculptures from Novatt’s Chaos series, and will be his first solo exhibition at Waddington Custot.
Novatt’s Chaos sculptures, constructed from linear, asymmetrical and quadratic shapes, are a group of works he has been developing since 2008. This exhibition will show Novatt’s most recent sculptures from the series, including three large-scale stainless steel sculptures at almost 3-metres high. These will be shown alongside a selection of smaller stainless-steel sculptures and table-top sculptures constructed in Cor-ten steel.
Novatt’s sculptures seek to investigate and challenge preconceived notions of space and interaction with sculpture. His new works continue to explore space, the work being less about the physical sculptural form than the void it contains. The sculptures’ open cubic forms carve out space, whilst the sculptures themselves appear on the verge of collapse. The solidarity of the cube is often subverted by breaks which disrupt the geometric clarity and further emphasise the precarious nature of the sculpture.
Novatt achieves a weightlessness through his dynamic compositions which is juxtaposed with the perceived weight of the industrial metals that he employs. His decision to use brushed stainless and Cor-ten (weathering) steel can be understood as a stripping away the obvious material quality, and going some way towards reducing the strength of form.
Scale and light are important elements in Novatt’s work. By placing large and small-scale works in conversation he is not only exploring scale but also material, highlighting and exaggerating the differences. He is interested in the site-specific, making sculpture that the architecture of the gallery can only just contain, creating a tension between the architectural and sculptural boundaries. Light is equally significant for Novatt, who sees the shadows cast by his sculptures as an extension of the physical work and a form of drawing in space. This concept is emphasised by dramatic lighting of the installation within the gallery space.
Earlier sculptures from Novatt’s Chaos series are installed worldwide in prominent public collections, such as Pérez Art Museum, Miami, Florida; Middlebury College Museum of Art, Vermont; SCAD Museum of Art, Savannah, Georgia; La Piscine Musée d’Art et d’Industrie, France; Chatsworth House, Derbyshire and City of Bilbao, Spain.
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