°ÄÃÅÁùºÏ²Ê¿ª½±½á¹û

Image of Brake by Phillip King
Phillip King, Brake. Photo © °ÄÃÅÁùºÏ²Ê¿ª½±½á¹û Cambridge

2003 Sculpture in the Close Exhibition

°ÄÃÅÁùºÏ²Ê¿ª½±½á¹û held its eighth biennial exhibition of contemporary sculpture in the summer of 2003.

This year we featured works by Rachel Whiteread, Eilis O’Connell, Alison Wilding, Phillip King, Keir Smith, Steven Gregory, Peter Hide, and Edward Allington, much of it new and some pieces specially constructed for the exhibition.

The pieces were on open display throughout the College grounds and gardens, which are also home to a permanent collection of modern art. The exhibition ran from 23 June to 31 July 2003.

Foreword

The Master and Fellows of °ÄÃÅÁùºÏ²Ê¿ª½±½á¹û are delighted once again to host Sculpture in the Close. In so doing we acknowledge our gratitude to Lord Renfrew who so imaginatively launched this series of exhibitions during his Mastership.

°ÄÃÅÁùºÏ²Ê¿ª½±½á¹û is known throughout Cambridge, and indeed beyond, for these marvellous exhibitions of contemporary sculpture. The generosity of the sculptors in lending their work for this exhibition is gratefully acknowledged.

We have also borrowed some works from public and private collections, and would like to thank Diana Eccles, Collections Manager at the British Council, Wilfred Cass of Sculpture at Goodwood, Charles Booth-Clibborn of Paragon Press, Mr Maurice Pinto, and Mr Robert Elsdale. Mr Karsten Schubert has also been a great help to the organizers. Keir Smith’s work has been assisted with a grant from the Arts and Humanities Research Board.

The works of art committee of the College led by Rod Mengham, Curator of Works of Art, has been responsible for mounting this exhibition, working closely with its advisors, Tim Marlow and Richard Humphreys, and with the gardens committee, chaired by Dr David Hanke. Considerable assistance was provided by the Domestic Bursar, Martin Collins, the Buildings Manager, Alan Fosbeary, and the Head Gardener, Mr Paul Stearn.

We are grateful for continued help from the Royal & Sun Alliance Insurance Company. We record our special thanks for generous support from the Staples Trust.

Robert Mair,
Master

Also in this section:

Cochlea by Edward Allington

Edward Allington

In Cochlea, Allington plays with a series of contrasts between hard and soft, technological and biological, external and internal.

Edward Allington
Fish on a Bicycle by Steven Gregory

Steven Gregory

Steven Gregory’s work maintains the figurative tradition in British sculpture with the vitality and acerbic wit of a satirist.

Steven Gregory
Plainsong by Peter Hide

Peter Hide

Hide’s sculpture is confidently synaesthetic, while its primary focus is on formal restraint.

Peter Hide
Fire in Taurus by Phillip King

Phillip King

Since the 1963 New Generation exhibition at the Whitechapel Phillip King has been a defining presence in British sculpture.

Phillip King
Yield by Eilis O'Connell

Eilis O’Connell

Eilis O’Connell’s sculptures communicate the thrill of experimentation and discovery. Her oeuvre is a treasure trove of the unexpected.

Eilis O’Connell
Landscape by Keir Smith

Keir Smith

Keir Smith's sculptures often have the appearance of remains, fragments of a structure that has either been dismembered with violence.

Keir Smith
Black Books by Rachel Whiteread

Rachel Whiteread

Rachel Whiteread’s False Door (1990) encapsulates the aims and methods of her famous casting technique.

Rachel Whiteread
Melancholia by Alison Wilding

Alison Wilding

Wilding's constructions seem to propose the imagining of an interior that is intended to be inaccessible.

Alison Wilding

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