Past Solo Exhibition
Richard Deacon: Beware of the Dog 06.10.2012 — 03.11.2012
Information
Event has ended
6 October -3 November 2012
About The Exhibition
Inspired by the mass public flats characteristic of the Singaporean landscape during his 5-week residency, British sculptor Richard Deacon produced an impressive body of over 70 works in collaboration with the STPI workshop. As STPI’s first resident artist from the UK, Deacon worked outside his usual oeuvre of wood, glazed ceramic and galvanised steel in exploration of the print and paper medium. These new works are centered on two significant ideas: the concept of artist interference on material and the use of folding as a means of construction.
Housing features clusters of marbled polygonal columns looming upwards in their trajectory. Each constructed by the simple act of folding, they demonstrate Deacon’s ongoing intrigue with materiality and the constructive use of the void. A dynamic interaction is created between these sculptural works and his two-dimensional subjects. The patterned surfaces of his forms in Dog Days and Blackfriars Blocks seem to mimic the flux of life, negotiating balances between various states of dichotomy. In them, we see a concern for contemporary issues of community interaction, and perhaps even an insight as to how modern scientific theories propose to describe reality.
“Richard has moved seamlessly between sculpture and printmaking,” observes Emi Eu, Director of STPI. “These enigmatic works have emerged from the profound depths of his practice, reminding us all of the relativity of our understanding and knowledge.”
Going beyond convention, Beware of the Dog is a compelling testament to Deacon’s admirable and never-ending quest for experimentation and innovation.
About the artist
Richard Deacon
Residency in 2011
Richard Deacon (b. 1949, Bangor, United Kingdom; based in London, United Kingdom) has been at the forefront of British sculpture since the 1980s, creating abstract, biomorphic forms that explore the interplay between interior and exterior, mass and lightness, movement and stillness. Emerging from constant experimentation with industrial and domestic materials such as plywood, stainless steel, polycarbonate, leather and clay, his organic sculptures evoke a sense of the body and interact dynamically with the audience and surrounding architecture.
Describing himself as a ‘fabricator’, Deacon often leaves traces of his construction visible, such as glue residue between layers of wood, and the surface details of screws and rivets. This highlights the tactile exchange between the artist and his material, a process of giving shape to the world that Deacon—who has a strong interest in reading and writing—likens to speech and language. In his Art for Other People (1982–ongoing) series, he fashions small sculptural assemblages that suggest the possibility of an intimate and portable possession of art objects. At the other end of the scale, After (1998) is a monumental wooden form that loops and snakes across the exhibition floor. Its open latticework creates multiple viewpoints and a delicate play between light and shadow.
Deacon obtained his BA from St Martin’s School of Art, London in 1972 and his MA in Environmental Media from the Royal College of Art, London in 1977. His work is held in prominent collections including the Tate, London; Museum of Modern Art, New York; National Museum Cardiff; Stedelijk Museum, Amsterdam; Louisiana Museum of Modern Art, Copenhagen; Museu d´Art Contemporani de Barcelona; Irish Museum of Modern Art, Dublin; Art Gallery of New South Wales, Sydney; National Gallery of Victoria, Melbourne; and Hirshhorn Museum and Sculpture Garden, Washington D.C. Deacon received the prestigious Turner Prize in 1987.
