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Thank you, you have selected the RBS Exhibitions and Events archive for 2002.

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Ochreous Earth, Billy Lee and Harvey Hood

16 January - 16 February 2002

Harvey Hood and Billy Lee were students together at the Royal College of Art and Birmingham College of Art and Design between 1965-1972. They worked and exhibited together during that time culminating in a two man show at the Ikon Gallery in Birmingham. Thirty years on, they were reunited at the RBS Gallery to examine the effect on their work of very different career paths in Wales and the USA respectively.

In 1858 John Ruskin talked of rust as an Ochreous stain- describing steel oxidization as a generative process instead of the more familiar decaying one. Oxidization is usually considered to be a sign of age, degradation and the consumed. It is exposed in Ochreous Earth as an intrinsic and celebrated part of the material, reflecting rust as a quality of life, movement and metamorphoses.

Hood explores the notions of constant flux in both structure and skin. Using seemingly unrelated objects, as in 'Rackets and Scissors', he explores the possible dynamics and dimension of space between them. The rusted surface by its very nature incites change and a constant flow of line. Lee’s practice has shifted from the monumental to smaller, intimate sculptures. Past work has concentrated on the balancing of shapes and line, and the play between light and shadows on surfaces. More recently he has moved on to denser, more compact forms that suggest hidden interior spaces; where paradox and ambiguity are key.

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Prime, Lucy Le Feuvre and Elaine Wilson

28 February - 23 March 2002

Lucy Le Feuvre and Elaine Wilson have in common a hands-on approach to making work that acknowledges the dialogue between the artists and the object, producing sculptural forms that are inherently tactile and sensual. Le Feuvre’s work breathes a sense of space and scale. It is sensuous and suggestively functional.The sculptures, carved from laminations of plywood, create natural, organic forms, betraying the man-made process.

Wilson’s tiny intimate sculptures similarly betray expectation. She describes malleable objects using fixed static materials. Her recent project Series of 100 wall objects refers to body parts, sexuality and desire, made from porcelain, glass, ceramic and fabric. On closer examination they reveal a more unnerving and sinister deviation, whilst their schematic layout belies a pre-Linnean taxonomy.

The artists collaborate to install work that interacts and counterbalances each other, whilst developing a dialogue with the contrasting elements of the gallery spaces. The exhibition suggests a relationship between the sensuality of the landscape with that of the body.

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Wood

10 April - 3 May 2002

Exhibiting in an indoor environment for the first time, Giles Kent took visitors on a sensory experience. Inspired by the potential dialogue of the heavy architectural characteristics of the RBS Gallery (mahogany panelling, plaster mouldings and Delft-tiled fireplace) with the natural, organic qualities of the wood he will introduce.

The reminiscence of the process of both collecting the raw material and organising it piece by piece in the space will remain evident. The result is an installation that is at once warm, sensual and unsettling. Giles Kent also be exhibited a group of recent sculptures that will yet again show new avenues in his work.

visit Giles Kent's website

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Spacecraft

15 May - 15 June 2002

Spacecraft wasthe first installation to produce a environment that interacts with visitors and sculpture in real time. Japanese sculptor, Nobuo Hase and Virtual Reality Research Fellow at the Royal Academy, Peter Cornwell collaborated to create an interactive installation of fine art sculpture and high performance computing which also interacts directly with the gallery visitors.

They employed, for the first time in a public arena, the results of research made at Central Saint Martins, Royal Academy of Arts and Imperial College, London. Artificial intelligence will generate imagery in direct response to the gestures of visitors encountering the sculpture; presenting a continual incorporation of new events and configurations and a new experience on each visit.

Nobuo’s sculpture is installed in the gallery and images of it are captured and re-presented in a new way by computer-driven displays.

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28 June - 20 July 2002

Despite suffering from chronic rheumatoid arthritis since the early age of 24, the artist John Pickering has spent more than 40 years exploring the rigours of geometry, and more specifically the inversion principle (MP·MQ=MR2). It is inversion's infinite generation of spatial ransformations and sensual curves which has formed the basis of all the sculptures exhibited at the RBS Gallery.

Viewed from different angles, Pickering's work takes on spectacular new dimensions; many of his structures can be rotated through 90 or 180 degrees. Subject to structural engineering and the use of hi-tech construction materials, the works are intended to be interpreted on an architectural scale.

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Annual Exhibition 2002

31 July - 31 August 2002

Ted Atkinson, Marzia Colonna, Wendy Earle, Joan Edlis, David Frankel Katherine Gili, Edward Goolden, Nobuo Hase, Simon Hitchens, Carole Hodgson, Harvey Hood, Joseph Ingelby, Robert Kogel, Michael Lyons Terry New, Roger Partridge, Simon Raines, Mike Roles, Richard Trupp, Andre Wallace, Robert Worley exhibited

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Bursary Exhibition, 2002

13 September - 8 October 2002

10 early career sculptors have been awarded an exhibition in the RBS Gallery in central London plus 2 years free membership to the Royal Society of British Sculptors.

This show promises an unmissable opportunity to see the very best
of new sculptural talent in a diverse and challenging range of media. Exhibiting Sculptors: Ekkehard Altenburger, Peter Hofer, Takafumi Homma, Jon Lockhart, Helene Martin, Gill Russell, Robert Smith,
Matt Stevenson, Susan Stockwell, Jeremy Turner.

Curated by Claire Foster

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Sculpture in 2D

23 October - 22 November 2002

Sculpture in 2D: the Object as Artist Michael Shaw exhibiting sculptural forms and experimental drawings produced directly from sculpture. Using neon, bronze, resin and rubber to create sculptures Micahel Shaw subjects them to processes involving X rays, light, heat wind and acid to produce work that blurs the traditonal boundaries between sculpture and drawing.

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Transromantik Cathy Ward & Eric Wright

27 November - 20 December 2002
Ward and Wright's work is laden with romanticism, memory and kitsch and comically complements the gallery’s intensely decorative architecture of the 19th century aesthetic movement.

A fantastical drinking tree sprawled into the 19th century salon of mahogany paneling and leaded windows, ornamented with painfully grotesque yet precious kitsch memorabilia including; candles, black forest souvenirs, mugs, figurines, Bavarian things, bullets, a nest of cuckoo clocks and a contraption dispensing overproof rum from a system of pulleys and cups.

By contrast the salon gave way to a white studio gallery filled with lonely limb like trees, adorned with tattooed, hand painted images and stripped of concealing foliage, leaving the tree a petrified totem of itself. An existential relationship to nature contrasts with the romanticism of the drinking tree culture. However the origin of Transromantik's installation lay with the stories of the brothers Grimm and German tree worship, the Weinachstsbaum (Night of the Sacred Tree) tradition, now associated with Christmas.

visit the Transromantik website

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