Pierre Huyghe is a producer of spectacular and memorable enigmas, with works that function more like mirages than as objects. Abyssal Plain (2015–ongoing), his contribution to the 2015 Istanbul Biennial, curated by Carolyn Christov-Bakargiev, was installed on the seabed of the Marmara Sea, some 20 metres below the surface of the water and close to...
In the early decades of its existence, New York's Museum of Modern Art (MoMA), founded in 1929, transformed from a philanthropic project modestly housed in a few rooms of the Heckscher Building on the corner of Fifth Avenue and 57th Street, to an alleged operating node in the United States' cultural struggle during the cold war, and one of the...
Hans Hartung and Art Informel at Mazzoleni London (1 October 2019-18 January 2020) presents key works by the French-German painter while highlighting his connection with artists active in Paris during the 50s and 60s. In this video, writer and historian Alan Montgomery discusses Hartung's practice and its legacy.Born in Leipzig in 1904, Hans...
In a solo exhibition of the celebrated Patrick Caulfield (b. 1936-d. 2005), Waddington Custot look deeper at the artist's practice across a number of different media, from oil painting to prints and his lesser known and rarely exhibited drawings, with particular attention to Caulfield's preoccupation with light and shade.
Early in his career as a student at the Royal Collect of Art in the 1960s, Caulfield developed a strong, easily identifiable style of painting of flat-coloured planes and hard-edged black outlines, Working with ordinary domestic forms such as lampshades, vases, window panes and wine glasses, he pared down his subjects to slick and streamlined black outlines and areas of saturated colour. Lines are crisp, surfaces are impenetrably, impossibly smooth, and colours elegantly balanced.
In keeping with the gallery's dynamic approach to exhibition-making, the Waddington Custot space on Cork Street will be split into several different sections, each painted different colours taken from Caulfield's work. These spaces, each reflecting a different aspect of the artist's practice, become an extension of the artworks themselves.
Many of Caulfield's compositions play with the representation of different and conflicting sources of light: beams, shafts, pools and floods, and the humble glow of the domestic lamp. He created compelling compositions that play with the viewer's perception and understood implicitly the ways in which light could fall on a subject.
Speaking to art historian Marco Livingstone in the early 1980s, Patrick Caulfield explained: 'Once I got on to shadows, I really went to town; they became compositional elements, in fact more than the objects that the shadows came from...I'm not actually painting from observation of light, I'm making up an idea of how light could appear to be.'
Often assimilated into the Pop movement, Patrick Caulfield always rejected this label. The exhibition at Waddington Custot shows another side of his work, through his drawing and preparatory sketches which are rarely shown alongside major works by the artist.
We have sent you an email containing a link to reset your password. Simply click the link and enter your new password to complete this process.
Scan the QR Code via WeChat to follow Ocula's official account.