Phyllida barlow biography template

Venues View all 9. Arts Council Collection, Southbank Centre. British Council Collection. Government Art Collection. Jupiter Artland. Sculpture in the City. The Roberts Institute of Art. Yale Center for British Art. Forming an environment in which her viewers can reflect on the work and explore the material and processes used to create it was one of her main motivations in her practice.

In she was appointed professor of fine art and director of undergraduate studies at Slade School of Art before retiring from teaching in at the age of 65, deciding to focus on her own art. Barlow's work is a combination of playful and intimidating. The child like colours she painted her sculptures, almost referencing toys is in deep contrast to the industrial materials and scale of her works.

Her sculptures tower above the viewer as if a huge section of scaffolding. She played with mass, scale, volume and height which creates a tension to her forms. Her forms give the impression of being both excruciatingly heavy and light as air simultaneously. When in the presence of her sculpture, one loses the sense of object and is entered into an environment.

Barlow did not hide her process and material choices from the viewer, she exposed each detail. Best known for her colossal sculptural projects, Barlow employed "a distinctive vocabulary of inexpensive materials such as plywood, cardboard, plaster, cement, fabric and paint" to create striking sculptures. Their role is restless and unpredictable: they block, interrupt, intervene, straddle and perch, both dictating and challenging the experience of viewing.

Phyllida barlow biography template

Maybe I don't think enough about beauty in my work because I'm so curious about other qualities, abstract qualities of time, weight, balance, rhythm; collapse and fatigue versus the more upright dynamic notions of maybe posture Is it growing or shrinking, is it going up or down, is it folding or unfolding? Barlow was also a prolific painter, yet even in this field she recognised they were "sculptural drawings".

Barlow's work has been presented in solo exhibitions around the world. The exhibition was called 'Set' and consisted of new works which were specifically produced for the show. Her work took over the gallery transforming it into an all consuming environment of bright matter. Her forms undulated through the gallery space with the intention of creating an argument or tension between the two floors of the gallery; "The upstairs space shrugging its shoulders at the downstairs space" as Barlow herself put it.

In , Barlow presented a solo exhibition of new work at the Kunsthalle Zurich. Barlow was one of four artists to have been nominated for the inaugural Hepworth prize , the UK's first prize for sculpture, and hers was displayed at the Hepworth Wakefield starting in October For the Venice Biennale , Barlow unveiled her powerfully industrial and bulbous Folly series, which took over both a sanitised indoor space and the idyllic Venetian outdoors.

During the course of , Barlow presented three solo shows. This is almost working on an industrial scale. A performative process. So it all happens here in the space — the process is sort of performative in that way. I see each space as something to be explored, rather than just a place to put something. The importance of tradition. A surprise visit.

Franzen, Brigitte ed. Do you know your Kauffman from your Emin? Plug in your headphones, sit back and relax with one of these podcasts, transporting you into the art world from the comfort of your front room. Be inspired by the work of Phyllida Barlow RA and create a sustainable sculpture from reusable household rubbish. Art21 Library Explore over videos from Art21's television and digital series.

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