Celestial, Bronze, 2016 – The Picton Art Prize
I am delighted to have been chosen as the winner of The Picton Art Prize, a new public sculpture award.
Below are some photographs of Celestial, Patinated verdigris bronze, 200CM X 240CM X 125CM, 2016 which is now installed at Angel Gate Islington, London.
Photographs are by Jasper Fry.
More information about the prize can be found here.
Celestial in Press:
‘An angel rises in Islington as emerging star artist creates celestial public sculpture’. UAL News. 28 April 2016
Edward Lucie-Smith – “This young artist is a big star in the making”
‘An Actual Angel In Islington’, May 1 2016. Tabish Khan, Art Critic, Londonist.com
‘STATE/f22’ Magazine Issue 21 | Mike van Joel & Anna McNay | Currently available at Mayor Gallery Cork Street, Jonathan Ross Gallery 286 Earls Court Road & ART 16 at Kensington Olympia fair as well as numerous other galleries. Please click here to view the page.
‘Public Sculpture Unveilings: Alex J Wood And Frances Segelman Commissions Revealed’, ArtLyst, 22-05-2016
The Lethaby Gallery
The Lethaby Gallery is currently showing ‘Out of this World (Bus number 9 to Aldwych)’ and Slick both of which will be on show again in early 2015. More details of this exhibition to follow.
International Space Station, Patinated Bronze, 2014
Private Collection, USA
Bus No. 9
I exhibited some of my new Space Series Bronzes at the launch of a new ArtLyst event at Candid Arts Trust. It was great fun and here are some of the photos from the evening. Michael Petry spoke and there was a performance by Roberto Ekholm too.
Michael Petry Essay
Michael Petry, a really interesting artist and director of The Museum of Contemporary Art London has written about my work…
Alex Wood might be the unholy reincarnation of Heath Robinson, for he sets his wild imagination and crazy obsession with flight into the heaviest of artistic materials: BRONZE.
A silvered paper zeppelin crashes into a bronze tower in R101 (sadly the original British R101 crashed on its maiden flight in 1930 killing almost everyone on board), a bronze hot air balloon cannot take off and lift its wicker basket in We Have lift-off! While in a new work Fly Me to the Moon a rather wrecked 1950’s version of what a rocket should be, looks like it could never lift off either. A larger work that deal with flight or the lack of it Taking Off, looks like it came out of someone’s father-in-law’s garden shed. It is made from what appears to be found timber and bicycle wheels but also has bronze elements just to add a bit more visual and historical weight. A silver model of Concorde is stuck in a mass of bronze in Mach 2, neither the model or the original are going nowhere and his Ferris Wheel is wonderfully mad, a work his spiritual grandfather would have been proud of – ceramic drinking cups are attached to a motorized bicycle wheel and a mouse could easily topple the complex structure.
It is the heady joy of these objects that brings a smile to the face of even the dourest viewer. That so many of his works are translated into such a staid material (bronze) makes the viewer realize how considered, how constructed, how sophisticated they are. For those unfamiliar with the process, bronze casting is a labor of love and the significant word is labor. These works at first look thrown together, jokey, but on inspection we see they are much more complex and they have been hard fought struggles to come into being and that makes the smile grow even a bit wider.
Michael Petry 2014
The Red Balloon
Bronze pouring of legs…
Resonation and Amplification in Art and Noh Theatre
I have submitted a piece of writing to JAWS Journal, a University of the Arts Publication that promotes student writing and research.
My piece focuses on the cultural differences between theatre in the West compared to that of theatre in Japan. I also make reference to my own sculpture, Slickthat explores low-fi and high-fi materials with bronze and card.
Resonation and Amplification in Art and Noh Theatre
“The Noh is unquestionably one of the great arts of the world, and it is quite possibly one of the most recondite” (Pound, E & Fenollosa, E. 1979)
As part of the CCW exchange, I went on a three-week trip to Japan and stayed at the Tokyo Wonder Site. Whilst there were distinct cultural contrasts between east and west, I also found many parallels between Tokyo’s people and places, and my own art practice. In this article, I am going to assert some of these similarities, by engaging with Zenchiku’s Chikubu-Shima; performed at the National Noh Theatre in Shibuya, Tokyo, during my stay.
In researching Noh beforehand, I found out that the floor is polished to enable better ‘gliding’ of actors, and that giant pots are buried underneath the stage, enabling sounds to resonate in the theatre space. These are components that I may have never been aware of during my own viewing, as they serve to amplify experience, rather than signify in-themselves. Through the actions that take place, Noh becomes more than purely theatre, and lends itself closer to a piece of performance art…
In Progress stages of works, including Nodding Donkey, Water Tower, American Windmill Etc.
Also installations including Wind Farm. This exhibition also features paintings by Sean Penlington, which we both curated together.
CATACLYSM – The Bear Pub Friday 8 March 2013
The Bear Pub – Friday 8 March 6-8pm
296 Camberwell New Road, SE5 0RP
Buses 36, 436 and 185 from Vauxhall Bridge Road to Sacred Hearts School
Featuring: Kelly Akers, Jennifer Hawkins, Cheryl Papasian & Alex Wood
Slick (A Sandcast Bronze)
Slick (Definition: Smooth, Glossy & Slippery like Ice).
A 15kg bronze, polished complete with the ball bearing sized droplets from when it was poured represents the Oil we all use… Its appearance is suggestive of an oil slick on water, yet juxtaposed against the bronze is a low-fi model I created of the monumental Titanic. Perched precariously on top the card model crashes into the slick bronze slab creating a contrast of materials, suggesting something may happen at any moment…
Sandcast Bronze, Oil Spill
This piece was created in one pour through sand-casting. The shape loosely references oil rigs and similar structures; it is a maquette for a larger piece I ma currently working on.
The textured surface underneath i created in the sand with various objects as the bronze picks up the tiniest and most intricate of details.
Coningsby Gallery, London
‘PLINTH TOWERS’ – PG Dip ‘Final, Final’ Show. July 2012. Chelsea College of Art, London
Installation Photographs of my PG Dip ‘Final Final’ Show at Chelsea
‘Oil Rig’ and ‘Cubed’ Bronze
Bronze Sculptures, featured in ‘Plinth Towers’
Pg Dip Final Final Show, Chelsea College of Art, London. July 2012.