Eduardo Paolozzi: Sculpting History
- The Cass Sculpture Foundation |
- 16 July – 26 October 2013
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To coincide with Pallant House Gallery’s retrospective exhibition, this display features some of the artist’s sculptural works in bronze, plaster, aluminium and steel.
Spanning a period of more than half a century, Paolozzi's sculptures encompass modernist, abstract and pop art styles.
Works from the 1950s prove his early interest in figurative deconstruction, pre empting the highly designed structures in bronze and chrome he would go on to produce in later decades.
The exhibition also features pieces from Paolozzi's more recent career, such as a series of head sculptures from the 1990s that reflect how his continued interest in human form was affected by modern industrial processes.
Other areas of interest include the relationship that emerged between Paolozzi and the English writer and novelist J G Ballard.
Both men were fascinated by the emotional, physical and psychological effects of car accidents and it is believed that Paolozzi's Crash sculpture later influenced J G Ballard's novel of the same title.
Also on display, a number of works symbolising how Paolozzi's collage work evolved into three dimensionality during the mid and late 1970s.
One example is Pikabio, a collage exploring geometric reliefs and abstract components in a way that reflects his sculptural practice.
Paolozzi claimed that he "always thought collage could be introduced to sculpture.... Where you would cut sentences out of books, and then collage them together at random, the same might be true in sculpture by moving elements around so that you get something that's beyond one's deliberate conception".
Yantra (1973-74) is a large-scale work composed of three main structural components each measuring over 200 cm in length and height.
Originally commissioned by Sir Terence Conran for the Habitat playground in Wallingford, one of the main intentions for this work was to encourage both individual and collective interactivity with sculpture.
It was created as part of a group of four other sculptures; Kalasan, Manuk, Suwasa and Trishula. This collection marks Paolozzi's move away from patterned abstract forms; his focus instead shifting towards geometric shapes and the use of alternative materials such as aluminium and steel.