Large-scale, geometric colour sculptures in welded steel and aluminium.

We Love these large-scale, geometric colour sculptures of British sculptor David Annesley which are featured in a new exhibition at Waddington Custot.

Annesley’s 1960s welded steel and aluminium sculptures are imposing in presence but still retain a delicacy of structure. He used colour to suggest the idea of dynamism and weightlessness in his sculptures, believing that colour opened up ‘a whole new way of articulating and realising feeling in sculpture’. This is evident in ‘Untitled’ (1968-1969), a circle contained within a triangular shape set in a larger circle, where Annesley’s use of complementary light blue and green tones disguise the mass of the material and convey a sense of lightness.

The work from the sixties explores the relation of the body to the sculpture, examining the ratio of the parts to the whole. Many of the sculptures work in series, featuring the same motif, repeated or reduced in size.

Two sculptures, ‘Loquat’ (1965–2017) and ‘Godroon’ (1966–2017) relate to each other in this way. Both use
wave-like shapes, built up in varying sizes, forms and colour. The lack of a straight edge on which the
sculpture should sit gives the illusion of instability and movement.

These two sculptures, as well as ‘Untitled’ (1969-2017), have been remade this year under the supervision of the artist. All three sculptures were destroyed in the Momart fire of 2004, but following a lengthy process and using the original specifications, the sculptures have been reconstructed on the occasion of this exhibition as a chance to revisit the ideas that persistently arise in Annesley’s work. Annesley’s first-ever solo exhibition was at Waddington Galleries in 1966. This 2017 exhibition, looking back to Annesley’s works from the 1960s, brings these seminal sculptures to the fore and reassesses them from a contemporary viewpoint.

David Annesley Kurumidza  at www.waddingtoncustot.com to 6th January 2018

David Annesley is currently exhibited in ‘Modern Art and St Ives’, @tate to coincide with the reopening of Tate St Ives. In this survey Annesley features in ‘New direction after 1960’, which shows examples of the diverse array of influences on modern British painting from the 1960s onwards. It considers how some modern artists associated with St Ives were now established on an international scene and reassessed how their work related to a rapidly changing artistic and social climate both at home and abroad. Some of David Annesley’s sculpture has come out of experimenting with grid systems, although geometry was just a tool. ‘Godroon’ originates in a grid of circles. ————- #davidannesley #annesley #stives #tatestives #tate #sculpture #modernart #art #sculptor

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About Mark Westall

Mark Westall is the founder and editor of FAD magazine, a curation of the world’s most interesting culture, and Creative Director of FAD Agency, a digital creative agency: www.fad.agency