Louis Sullivan (1856 - 1924), American, storied architect and theoretician always insisted ‘form ever follows function’. Both European and American early modernists insisted on an ever increasing reduction of ornament and the transcendence of functionality. Ironically, in the post second world war era, this pedagogic insistence passed. Culture moved into a protracted period of relative acceptance of ornament and playfulness, partly fueled by technical advances and engineering flare. Both architecture, art and design, have moved away from this former idea and now we are comfortable with the playfulness and transcendence of intellectual and technical chicanery. Similarly, ideas Read more...
Michael Hue-Williams is delighted to be presenting his first exhibition in sixteen years with John Virtue at Albion Barn, opening 2nd April 2015.
This new body of 42 paintings continues the sequence of works made exploring the north Norfolk coast at Blakeney Point. John Virtue continues his practice of once weekly walks along the coastline in all weathers. Making studies in pocket sketchbooks, which go towards the finished paintings in acrylic on canvas and linen. Continuing the tradition of painting the sea, which passes from Turner, Constable to Courbet, these works combine the sentiment of abstraction not dissimilar to the approach of Pollock and Kline with the gestural tradition to be found in Japanese calligraphic painting.
A new publication with text commissioned from Andrew Graham-Dixon presents the paintings and the practice of this most determined and focused artist. Unlike his concurrent exhibition at the Towner Art Gallery entitled The Sea, which previously travelled from The Sainsbury Centre and will go on to firstsite in Colchester, these works are more manageable in scale.
John Virtue has exhibited in many museums over his long career, including The National Gallery, The Yale Centre for British Art, The Courtauld Gallery in Somerset House, Tate St Ives, Whitechapel Gallery, Serpentine Gallery and The Douglas Hyde Gallery, Dublin. The Towner exhibition continues until 12th April 2015 and the firstsite exhibition opens on 13th June and runs until 20th September 2015.
Country Life is a brand new collection of work by British Artist Richard Woods; opening this spring at Albion Barn. In a unique collaboration, Michael Hue-Williams invited Woods to respond to the environment in which his work would be exhibited, creating something unique that would have legacy in it's surroundings and a direct response to the Great British countryside setting of Albion Barn.
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Michael Hue-Williams is pleased to announce the opening of James Turrell's Five Decades. This exhibition, which is culled from a group of works acquired from the artist during the 15-year period in which Michael and James Turrell worked together, will include three 1967 and 1968 Aperture works, one Magnetron work, 2 Aperture Shallow Space works, and a stand alone Skyspace.
The Skyspace entitled Elliptic Ecliptic was last constructed in 1999 in Cornwall during the passing of the last total solar eclipse over the UK.
Albion Barn, renovated by Studio Seilern Architects, is located 50 miles west of London. It will be open by appointment Thursday Friday and Saturday each week. Focusing on large outdoor sculpture, rotating exhibitions will take place 2 or 3 times a year. The landscape surrounding the exhibition space will afford the opportunity to make exhibitions simply not possible in London. An ongoing commitment to each of the artists exhibiting will be evident in the slow accumulation of largepermanent pavilions and sculptures onsite.
The earliest projection works began in 1966 and were formed by light projected
across a corner from a slightly modified quartz halogen projector. The first
image (Afrum-Proto, 1966) was essentially a rectangle projected across a corner
in such a way that from a distance there appeared to be a cube floating off the
floor, yet in some manner attached to the corner of the space. From a distant
this shape had solidity, but appeared to be literally composed of light. Still, at a
distance, but moving to the side, one could further substantiate this impression
because the cube seemed to reveal itself in perspective. Advancing toward it, the
image would eventually dissolve to the point where you saw not the object in
space, but the actual light on the wall.
The first images had a distinctive sculptural quality: the piece seemed to objectify and make physically present light as a tangible material. The space which these pieces occupied was definitely not the same as that which the room had without the image. The space generated was analogous to a painting in two dimensions alluding to three dimensions, but in this case three-dimensional space was being used illusionistically. That is, the forms engendered through this quality of illusion did not necessarily resolve into one clearly definable form that would exist in three dimensions.
A series of similar cross-corned forms was then created, using xenon projectors constructed with the help of Leonard Pincus. Use of the xenon projectors allowed the size of the projections to be increased without any loss oof brilliance. At the same time, crispness of focus was gained because the xenon source is a point source. Throughout the series, the image had a sense of solidity because, in some manner, a quality of transparency and surface had been created. This was unavoidable since the image was formed across a corner actually existing in three dimensions, and because any evenly lit shape of light projected on the wall cannot ride on exactly the sameplane as the wall.