Beyond the Object: Dale Chihuly’s Glass Sculptures at the Halcyon Gallery

This article is published in Trebuchet Magazine

Claiming that he was always “interested in space”, American artist Dale Chihuly has enthusiastically adorned the entire interior of the Halcyon Gallery on New Bond Street with his large hand-blown glass sculptures. These works and installations are collectively titled Beyond The Object, which seems appropriate for Chihuly’s attention to space and architecture surrounding his artworks. From the street, the objects glint in enticingly strong colours, and once inside, they completely absorb you.

The vibrant glass sculptures cover – and at times seem to crawl over – the walls, floors and windows in fantastical displays of colour, energy and light. Each is reminiscent of sea creatures: limpets, shells, jellyfish, seaweed, or anemones. Yet they also take on abstract shapes, stimulating one’s imagination and engagement with form over detail.

The shadows cast by the three-dimensional objects are definitely important for each sculpture and they work in a number of ways. They extend the spaces of the sculpture, highlight and compliment the glass colours and magnify some of the details on the sculptures’ surfaces. The shadows also challenge assumptions that glass sculptures are inherently static objects, because, of course, the shadows change and move throughout the day.  Continue reading

Advertisements

T. J. Clark comes to London to shed new light on Picasso and ‘truth’

Published in Trebuchet Magazine

This autumn, acclaimed art historian T. J. Clark has been travelling round London giving talks about his latest book ‘Picasso and Truth: From Cubism to Guernica’. In this book Clark concentrates on the artwork Picasso produced during the 1920s, which has been considered not to be the artist’s best period. Indeed, Greenberg calls the results of this artistic epoch a failure of nerve. Other scholars have criticised Picasso’s art at this time in terms of its ‘brightness’, condemning it as overdone. Clark conveyed that he wanted to re-address the 1920s because it is neglected and misunderstood – a motive that fits well with his well-known desires to re-address the methodologies and focuses of the history of art in a new type of Social Art History.

Clark concentrates on three particular paintings in his central chapters. The first, ‘Guitar and Mandolin on a Table’ 1924, which he renames ‘Still Life in Front of a Window’, is the largest still life Picasso ever did. Next to be considered is ‘The Three Dancers’ made in 1925 – a painting Picasso said was his best, or better than ‘Guernica’. This is renamed as ‘Young Girls Dancing in Front of a Window’ in Clark’s book. The last central painting addressed is ‘The Painter and His Model’ 1927, which is by far the least well-known work of the three. The renaming of the paintings to locate the subject matter within rooms and to include window references is important for Clark’s argument, as I hope to illustrate later.  Continue reading