Rado Kirov: Quicksilver

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Open: Mon-Sat 10am-6pm

74 Newman Street, W1T 3DB, London, UK
Open: Mon-Sat 10am-6pm


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Rado Kirov: Quicksilver

to Sun 17 Jul 2022

Artist : Rado Kirov

74 Newman Street, W1T 3DB Rado Kirov: Quicksilver

Mon-Sat 10am-6pm

Artworks

Fishpond, 2013

Mirror stainless steel
115 x 115 cm 45 x 45 in

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Mood, 2022

Mirrored Stainless Steel
110 x 20 x 20 cm 43.3 x 7.9 x 7.9 in

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Tumbling cubes, 2018

Mirrored stainless steel
54 x 72 x 107 cm 21 x 28 x 42 in

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Ornament 1, 2022

Mirrored Stainless Steel
45 x 10 x 10 cm 17.7 x 4 x 4 in

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The Melt 2, 2016

Mirrored stainless steel
140 x 70 cm 55 x 27 in

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Ornament 2, 2022

Mirrored Stainless Steel
83 x 15 x 15 cm 32.6 x 5.9 x 5.9 in

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Free Fall 4, 2018

Mirrored stainless steel
90 x 54 x 54 cm 35 x 21 x 21 in

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Ornament 3, 2022

Mirrored Stainless Steel
121 x 22 x 22 cm 47.6 x 8.6 x 8.6 in

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The Melt 1, 2016

Mirrored stainless steel
70 x 175 cm 27 x 68 in

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3D Wall Panel 2, 2016

Mirrored stainless steel
90 x 90 cm 35 x 35 in

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Pontone Gallery Rado Kirov 1

Pontone Gallery Rado Kirov 2

Pontone Gallery Rado Kirov 3

Pontone Gallery Rado Kirov 4

Pontone Gallery Rado Kirov 5

Pontone Gallery Rado Kirov 6

Bulgarian sculptor, Rado Kirov, trained as a coppersmith and initially pursued a career as a skilled craftsman of precious metals. He spent the 1990s in South Africa where he worked on many prestigious commissions, becoming particularly well known for making a silver chalice presented by President Nelson Mandela to Pope John Paul II.

Subsequently he has focused on sculpture, enlarging his scale and range, to forge a career in free-standing and wall-based steel structures. Pontone Gallery has a long-standing relationship with the artist and is delighted to exhibit these new pieces.

Kirov’s background as a metalworker equips him with a profound knowledge of technique and a keen awareness of the aesthetic properties and potentials of his material. Since his move to sculpture, he has worked in stainless steel. Building on his intimate knowledge and overcoming technical challenges, he has developed a secret method, which he refers to as ‘the mercury effect.’ This involves applying hand techniques and the manipulation of extreme temperatures to produce an undulating and rippled surface. He smooths and polishes this to a mirror finish, as glossy and seductive as chrome.

This collection consists of elegant, blade-shaped columns, made from welded sheets which curve and twist to resolve in fine points. They shine, glisten and flow like quicksilver. In addition, blunter, obelisk-like forms end in a truncated cage structure, whose dark finish creates an almost brutal contrast with the glacial smoothness of the lower surface.

The apparent sleek modernity of Kirov’s structures masks an elemental sculptural impulse, which suggests ancient monoliths and archaic proto-monuments. Seen as pure forms, these objects look like spear and arrow heads, prehistoric way-markers and votive pillars. Fabricated from the material of contemporary industrial production, they insinuate themselves into our world. Shiny and mercurial, cloaked in reflections, they smuggle old things into new places.

Courtesy of the artist and Pontone Gallery, London


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