CONFLICT AND COLLISIONS: NEW CONTEMPORARY SCULPTURE - Wednesday, 23 July 2014

• Conflict and Collisions coincides with this year’s WW1 commemorations, featuring three new solo exhibitions and site-specific commissions that consider themes of historical and contemporary conflict and of man versus machine and our relationship to technology

• Alexandra Bircken’s exhibition will include works that refer to the American B-52 bomb, Mercedes gear-sticks and a new installation featuring leather ‘skins’ – reminiscent of deflated human bodies – adorning intersecting ladders, alluding to Barbara Hepworth’s iconic stringed sculptures

• Taking as a starting point historical objects from the Royal Armouries in Leeds and Wakefield’s art collection at The Hepworth Wakefield respectively, both Folkert de Jong and Toby Ziegler have each used state-of-the art digital and 3D technologies to reconfigure the human form

• Folkert de Jong’s new site-specific commission has focused on two elements of the Royal Armouries’ national collection of arms and armour: the personal armour of Henry VIII and contemporary modern firearms

• Ziegler’s new commission references his interrogation of ‘war porn’ imagery from conflicts in Iraq and Afghanistan

• The Calder, The Hepworth Wakefield’s contemporary art space, will showcase Expanded Narcissistic Envelope, Ziegler’s series of new, aluminium sculptures, suggestive of human forms, modified through digital manipulation

CONFLICT AND COLLISIONS: NEW CONTEMPORARY SCULPTURE
From 1 October 2014 until 25 January 2015, The Hepworth Wakefield presents its autumn season,
Conflict and Collisions: New Contemporary Sculpture, comprising three solo exhibitions, each featuring a new, site-specific commission by contemporary artists: Alexandra Bircken, Folkert de Jong and Toby Ziegler.

Coinciding with this year’s WW1 commemorations, Conflict and Collisions: New Contemporary Sculpture, considers themes of historical and contemporary combat and of man versus machine, juxtaposing handmade and hand-finished objects with mechanical weaponry, state-of-the art digital technologies and 3D printing.

ALEXANDRA BIRCKEN

German artist Alexandra Bircken presents a series of recent works that showcase a new approach in her practice, as well as a new site-specific commission for The Hepworth Wakefield.
Through her latest work, B.U.F.F, 2014, Bircken continues to explore her interest in reoccurring concepts within C20th sculpture: male verses female, and the handmade versus the mechanical. Comprising four component works (Big, 2014; Ugly, 2014; Fat, 2014; Fellow, 2014), B.U.F.F, 2014 collectively refers to the American B-52 bombers, used by the United States Air Force from the 1950s. Made from wood, foam, plastic textiles and latex, the direct reference to weaponry and warfare is conversely sensualised through a textile ‘skin’, covering each component, coated in fabric and black latex. In Mercedes and her Sisters, 2014, Bircken explores the abstract and formal properties of objects by repurposing them as figurative sculptures, in this instance five gear-sticks represent five female forms.

In addition, Bircken will create a new, site-specific installation, interacting with the architecture of the geometric spaces designed by David Chipperfield Architects. A series of ladders across the spaces will recall Hepworth’s ‘stringed sculptures’. Adorned with a large number of ‘skins’, reminiscent of deflated human bodies, this element explores Bircken’s interest in representing the fabric as skin, a type of clothing for the human body, a protective boundary.

FOLKERT DE JONG
Dutch artist Folkert de Jong’s new site-specific commission draws on the collections of armour and contemporary weapons held by the Royal Armouries Museum in Leeds. In particular, De Jong has focused on two elements of the Royal Armouries’ collection: the personal armour of Henry VIII and contemporary modern firearms.

The suits of armour, made at different points in Henry VIII’s life, demonstrate his changing body shape: from a lean, young man of twenty, to a considerably larger, older statesman. In addition, De Jong has selected contemporary weapons from the collection, including machine and hand guns. Both historical and contemporary objects have been reproduced using the latest 3D scanning process, reprinted as polystyrene figurations, reconfigured by the hand of the artist (degraded, damaged, or altered in scale), before their final presentation in bronze.

The finished bronzes will be presented within a sculptural installation that will include an armada of bronze ships and coloured acrylic display cases containing polystyrene sculptures and a sandpit, as visual connections to the casting and creative processes involved.

TOBY ZIEGLER
British artist Toby Ziegler continues his long-standing interest in making visual connections between history, memory and digital technologies.

Ziegler takes as his starting point the WW1 plaster frieze from Wakefield’s collection, No Man’s Land, 1919-20 by renowned war memorial artist and Yorkshireman, Charles Sargeant Jagger (1885-1934), to create a three-part sculptural composition, echoing the composition of the frieze.

This will be the first time in 20 years that the plaster version of Jagger’s No Man’s Land will be on public display. Supported within a network of aluminium joists, the frieze will overlook a three-metre high aluminium sculpture of a human foot. This new commission expands on Ziegler’s interrogation of ‘war porn’ – trophy images posted online of war casualties in Iraq and Afghanistan. Dismembered limbs are reconfigured and abstracted using digital technologies.

The final element of the installation comprises a 3D printer that will produce a Newell teapot within the gallery space on a daily basis. Created in 1975 by early computer graphics researcher Martin Newell, this mathematical model serves as a test-card for reproducing a simple teapot and cites another instance of the potentially endless reproduction and of images and objects in the digital age.

Ziegler will also show new work in The Calder, The Hepworth Wakefield’s contemporary art space, a 19th century former textiles mill situated in the gallery gardens. Expanded Narcissistic Envelope (13 September – 16 November) will incorporate a series of new, aluminium sculptures, whose reflective, multi-faceted surfaces directly reference their digital origins. These often unfold in pairs – one version in fully inflated 3D, the other, deflated or crumpled, lying low on the ground. Ziegler continues to explore the play between sculptural form and digital image through a series of architectural interventions and expansive printed surfaces.

Visitors can enjoy free admission to all three exhibitions within the new autumn season – Conflict and Collisions: New Contemporary Sculpture. In addition, there will be a number of related events and talks. For further details about these, as well as the gallery’s autumn public programme and free, family-friendly activities visit www.hepworthwakefield.org or telephone 01924 247360.

ENDS

MEDIA ENQUIRIES:

For further details, interview requests and photo opportunities please contact:
Naomi Roberts, Media Officer
T: +44 (0)1924 247392
M: +44(0)7717 807512
E: naomiroberts@hepworthwakefield.org

IMAGE REQUESTS:

High resolution images are available from the Media Centre

All images are provided courtesy of The Hepworth Wakefield and must be reproduced with full and correct captions and credits as provided.
For further assistance with images or credits contact:
Sarah Forrest, Marketing and Communications Assistant
T: +44 (0)1924 247363
E: sarahforrest@hepworthwakefield.org

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