For his second gallery show at Thomas Dane Gallery, Phillip King CBE PPRA (b. 1934 Tunis) presents an exhibition in two contrasting halves that explore the wide diversity of approach to materials the artist has adopted over the last 60 years.
Phillip King: Colour on Fire & Ceramics 1995-2017 / until Saturday 3 February / @thomasdanegallery London / click the link in our bio for more #firstlookart #mustsee #PhillipKing #ThomasDane #ThomasDaneGallery #London #gallery #exhibition #art #sculpture #painting #abstract #geometry #contemporaryart #contemporarysculpture #modernart #seemoreart #dontmissout #GalleriesNow
Steeped in both ancient tradition and a modernist clarity, these new works reveal the investigations of a peerless sculptor who continues to challenge the limits of his materials.
At 11 Duke Street St James’s a crowd of solemn, statuesque, unglazed ceramic vessels populate the gallery spaces. From domestic to monumental in scale these works seem to suggest a utilitarian purpose, though each is sliced through in some way revealing their hidden volume. These holes and voids chime with King’s persistent desire to literally and metaphorically cut open his work (e.g. Rosebud, 1962 and Through, 1965), to look inside and understand better their density. Part Brancusian totems and part abstract figures, King sets off echoes within the works, repeating and mutating shapes and gestures throughout the group.
King has had a long and enduring relationship with clay, from the beaches of Tunis as a boy where he was born and grew up, the sun-baked adobe block buildings of North Africa through to his visits in the late 1980s and 1990s to Japan where he became fascinated by the ancient tradition of Jomon ceramics. King thrives off the immediacy of its malleability, typically not making preparatory sketches or plans for his work, preferring to resolve form intuitively, thinking through his hands. King’s unglazed ceramics seem reminiscent of historical or archaeological relics, though not one to stand on tradition, he has constantly experimented, adding glass fibre and even paper pulp in order to explore and extend the possibilities of the material.
At 3 Duke Street St James’s King will show new work that extend his fascination with colour and volume. Colour Me Pink, 2017, a large geometric form in bright blues and pinks, has been perforated, almost obliterated, with dozens of large cylindrical holes that bisect the volume of the sculpture. The vibrant and competing colours of the work also combine with the brightly coloured walls of the gallery, visible around, but also through its perforations. King revels in extending the limits of sculpture as a definite object, creating a complete environment in which the object and viewer co-exist.
The geometry of the work is broken by a sense of collapse as the two halves of the sculpture seem to slump across two plinth-like black boxes. We are reminded of Henry Moore (King’s employer and mentor in the very early days of his career) and his monumental reclining figures; but moreover, of Hepworth’s radical gestures of cutting holes through her abstract forms in an effort to challenge where the physical and conceptual edges of a sculpture could be. Anti-monumental, and perhaps reminiscent of the architectural ruins of Carthage of his youth, the shapes balance lightly, precariously, on one another as if to remove one would mean the collapse of them all.
Phillip King’s work is in the collection of major museums internationally including Tate, London; MoMA, New York; Pompidou, Paris; MOCA, Los Angeles; Rijksmuseum, Amsterdam; Louisiana Museum of Modern Art, Humblebaek; Osaka Museum, Osaka; National Gallery of Australia, Canberra.
Major outdoor sculptures are on permanent display at Houghton Hall, Norfolk; University of Liverpool; Zuiderpark, Rotterdam; Kistefos Museet, Norway, Venet Foundation, France; European Patent Office, Munich; as well as many other metropolitan and rural locations around the world.