Houghton Hall is a beautiful stately home in Norfolk and both the house and grounds are currently playing host to two exhibitions of sculpture – with Antony Gormley’s works in the grounds and Magdalene Odundo’s vessels inside the house and its staterooms.
Step inside the first room at Houghton Hall and it’s easy to be overwhelmed by the opulent surroundings and not notice the ceramic vessel by Odundo on the table in front of us – it’s simple and a contemporary contrast to its surroundings. Walk around it and a profile appears as one part of it sticks out like a nose on a face.
These subtle references are evident in other rooms as a pair of thrones has two glass vessels placed in front of it, similar in shape but differing in colour as if male and female – the pattern repeating with two vessels in the bedroom as well. While on a sideboard a long necked vessel faces off with an ornamental crane, mimicking its pose. Odundo’s works stand out for being contemporary but also complement the house’s interiors.
The one work that breaks away from her subtler pieces is a centrepiece based on Odundo’s year-long residency at Wedgwood and in the style of Wedgwood pottery. In this towering layered work it includes imagery of colonialism and more recent protests from Kenya, in arguably the most powerful piece in the show.
Step out into the grounds and there are 100 Antony Gormley’s to be found all based on a cast of his body. Some tower above us on plinths while others are buried in the ground to varying depths including some where only the head remains visible. They add to the treasure hunt feel to the grounds given there are permanent sculptures to be found across the grounds, including a fantastic James Turrell skyspace that makes a fitting and meditative end to any trip to Houghton.
While both artists have created figurative sculpture they couldn’t be more different: Odundo’s works are inside, Gormley’s outside. Odundo’s works are subtle and delicate, Gormley’s direct and solid. It’s not obvious at first that Odundo’s works refer to figures, while Gormley’s are all obviously based on his own body. Odundo is an artist I’ve only recently discovered, Gormley I’ve known for my entire career writing about art.
These are two very different exhibitions within the grounds of Houghton Hall and yet they both work well in their respective spaces – and as a contrasting pair. I look forward to future split exhibitions across the house and the grounds, as this pairing has set a trend that I’d like to see repeated.
Dame Magdalene Odundo is showing at Houghton Hall until 29th September and Antony Gormley: Time Horizon is on display at Houghton Hall Gardens until 31st October. Entry to the hall and gardens is ticketed.
All photographs by Pete Huggins, courtesy Houghton Hall Foundation.
