Kate Bryan
\n晚間拍賣主管
\n+44 7391 402741
\nkbryan@phillips.com

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Olivia Thornton
\n二十世紀及當代藝術歐洲主管
\n+44 20 7318 4099
\nothornton@phillips.com

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'The definition of a sculpture for me is stance and attitude. All sculpture takes a stance. If it dances on one foot, or, even if it dances while sitting down, it has a light-on-its feet stance.' —John Chamberlain

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Energetic, playfully animate, and strikingly anthropomorphic, Ramwater Sweets is a particularly vibrant example of American sculptor John Chamberlain’s ability to transform inert everyday materials into dynamic sculptural assemblages. Always highly experimental in his approach to materials, the self-proclaimed ‘recyclist’ first started working with wrecked automobile parts in 1957, forging a careful balance between the gestural immediacy of Abstract Expressionism, Minimalism’s emphasis on industrial fabrication, and the vibrancy of Pop that he would continue to refine over an impressive six-decade career. Executed in 2002, the attractively sized Ramwater Sweets is highly characteristic of Chamberlain’s most compelling work, its distinctive candy-coloured ribbons of twisted and folded chromium plated steel producing the voluminous sense of form and highly expressive dynamism for which he is most revered.

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Futurism and Forms in Motion

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'Every material has a different density, different weight […] In finding your place in sculpture, you need to find the material that offers you just the right resistance. As it turns out, car metal offers me the correct resistance so that I can make a form—not overform it or underform it.'
\n—John Chamberlain

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Ranking amongst some of the most iconic sculptural works of the post-war period and distilling something quintessentially American in his adoption of repurposed automobile parts, Chamberlain’s careful balance of rhythm and movement and the expressive plasticity of his practice also draws on a long tradition of European sculpture. Strikingly beautiful, the crenulated surfaces of Ramwater Sweets generate a remarkable fluidity that recalls the folded drapery and dramatic intensity of Gian Lorenzo Bernini’s high Baroque masterpieces, combined with a sense of machinic form and explosive energy developed by the Italian Futurists at the dawn of the 20th century.

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\"[Left] — [Left] Gian Lorenzo Bernini, *L'Estasi di Santa Teresa (Ecstasy of St Teresa of Avila)*, 1647-1652, Santa Maria della Vittoria, Rome. Image: NPL - DeA Picture Library / Bridgeman Images
\n[Right] Umberto Boccioni, *Forme uniche della continuità nello spazio (Unique Forms of Continuity in Space)*, 1913, Museo del Novecento, Milan. Image: akg-images / De Agostini Picture Lib. / G. Cigolini

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Although Chamberlain does not celebrate or fetishize the automobile in quite the same way as his Futurist forebears, his commitment to it as a material rooted in 20th century modes of production certainly resonates with the aims and interests of the Italian Futurists. As in Umberto Boccioni’s defining symbol of the Machine Age, Forme uniche della continuità nello spazio, Chamberlain’s sculptural assemblages speak to the ways in which technology permeates the body, and of sculpture’s privileged ability to respond to this, a point emphasised with Chamberlain’s inclusion in the recently opened group exhibition Future Bodies from a Recent Past – Sculpture, Technology, and the Body since the 1950s held at the Museum Brandhorst in Munich. For Chamberlain, as for Boccioni, a core conceptual problem of sculpture lies in not only in how to extract intense physicality and sense of kinetic energy from static form, but of how to address sculpture’s disruptive relationship to the space surrounding it, artfully managed in the smaller-scale Ramwater Sweets.

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Chromium Plated Colour

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Although Chamberlain did expand his repertoire to include a range of other materials including plexiglass and galvanised steel, his sculpted automobile parts remain his most immediately recognisable and beloved works. An integral part of Chamberlain’s practice, colour was initially dictated by these prefabricated materials sourced from local scrapyards, although when he returned to the automobile with renewed focus in the 1970s, the artist began adding colour to the twisted junk metal as we can see in Ramwater Sweets. Sandblasting the original paintwork from the metal, Chamberlain juxtaposed a variety of vivid pastel hues and bright primary colours against bare areas of polished chrome. Firmly committed to colour throughout his career, the artist explained ‘I never thought of sculpture without colour. Do you see anything around that has no colour? Do you live in a world with no colour? […] All sculpture had colour, even if it was rust colour or just dull green or something’.ⁱ

\n\n

For Chamberlain, colour was also intimately linked to the kind of dynamic energy he wanted to capture in his sculptural works, reflected both in the active chemical reactions occurring between his materials, and the synergy between movement, gesture, and colour typically associated with Abstract Expressionist painting. It is on these grounds that Chamberlain is often identified as the first artist to extend the painterly experiments of mid-century Abstract Expressionists such as Jackson Pollock ad Willem de Kooning into three dimensions, developing a pioneering mode of three-dimensional collage bursting with energy and expressive plasticity.

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Collector’s Digest

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• Internationally renowned for his twisted metal sculptures and experiments with other industrial materials, examples of John Chamberlain’s work can be found in the permanent collections of the Art Institute of Chicago, the Hirshhorn Museum and Sculpture Garden in Washington D.C., the Museum of Modern Art in New York, and the Tate Collection in London.

\n\n

\n• Over the years major retrospectives of Chamberlain’s work across a range of media including photography, film, sculpture, and painting have been held at the Solomon R. Guggenheim Museum in New York, and the Museum of Contemporary Art in Los Angeles. Since his death in 2011, Chamberlain has been the subject of several solo exhibitions, the most recent of which has been Hauser & Wirth’s John Chamberlain: Reclaimed, which opened in Zurich in March 2022.
\n

\n\n

i John Chamberlain, in Phyllis Tuchman, ‘An Interview with John Chamberlain’, ArtForum, February 1972, online.

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CAROLINE WALKER Afters, 2016

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CY TWOMBLY Untitled, 1962

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ANNA WEYANT Bath Time, 2019

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OUATTARA WATTS № 1 For Miles, 1997

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PHILIPPE PARRENO Untitled (Coloured Candles), 2013

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SHARA HUGHES Wavy Navy, 2015

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ISSY WOOD Not Turned On, 2018

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ROBERT NAVA Maybe Metatron, 2017

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NICOLAS DE STAËL Marine, 1954

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DAMIEN HIRST Beautiful tropical, jungle painting (with pink snot), 1998

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MARÍA BERRÍO The Riders II, 2012

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FLORA YUKHNOVICH Moi aussi je déborde, 2017

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Tschabalala Self, Carma, 2015. 20th Century & Contemporary Art London.

\n\n

Tschabalala Self

\n\n

The materials that Tschabalala Self uses are charged with autobiographical importance, including sewn scraps of found textiles, cut up and recombined pieces of her own canvases, and – most poignantly – pieces of patterned fabric that previously belonged to her mother. A seamstress during her lifetime, Self’s mother amassed an enormous collection of patterned fabrics, providing a resource that the artist has turned to after her death. Deftly weaving the personal with the political, Self draws on her own life and the entrenched associations of textiles to women and so-called “women’s work” in order to create highly charged objects that decisively explore today’s attitudes toward race and gender. In this respect, her highly textured paintings recall Faith Ringgold’s painted story quilts, and their powerful combination of personal narratives, politics, and history; Ringgold is an artist Self cites as a particular formative influence growing up in Harlem.

\n\n

Carma is a strikingly three-dimensional portrait, one of her few works to incorporate padding in the construction of her subject. Included in Self’s first solo exhibition in the United Kingdom hosted by Parasol Unit in 2017, Carma is a commanding example of the artist’s highly expressive and inventive approach to materials and figuration for which she has become so well known. Combining textiles, acrylic, vinyl paint, and pastel, Self here deconstructs and refashions the Black female body, exposing and amplifying historically entrenched ideas or fantasies related to Black femininity and sexuality that persist in contemporary attitudes. Self frequently returns to the idea of her images as built constructions, encapsulating both the nature of their execution and more complex notions of identity formation. Readymade elements that introduce diverse textures, forms, and colors, Self’s cutting, shaping, and stitching together of fabrics draws profound parallels to the complex intersections of our own histories and sense of selfhood.

\n\n

\n\n

María Berrío, The Riders II, 2012. 20th Century & Contemporary Art London.

\n\n

María Berrío

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Advocating a kind of magical thinking akin to the Magical Realist works of Gabriel García Márquez and Isabel Allende, María Berrío’s fusion of narrative, fantasy, and allegory in The Riders II is consistent with the artist’s distinctive mode of worldbuilding, and her creation of utopian spaces populated primarily by female figures who are at once closely connected to nature and capable of transcending this material realm. Berrío’s large-scale collaged canvases offer compellingly beautiful scenes suffused with a sense of magic and musicality, lending them a dream-like quality as ephemeral and delicate as the materials used in their execution. Typical of her artistic process, the variegated surface of The Riders II is built up in layers of carefully cut pieces of delicate handmade and brightly colored Japanese paper, to which the artist has added touches of acrylic, watercolor, and gold leaf, creating a sense of movement and harmony especially well-suited to the present subject.

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As with the processes involved with traditional quilt-making, Berrío’s use of multiple textures and fragments speaks eloquently to ideas around memory, dream, and narrative, and the peculiar way in which her works seem capable of “cutting through time and the unconscious” in a manner that recalls the languid scenes of Henri Rousseau’s exotic canvases. Berrío’s intricate, paper-based works also recall the individuated dots of pure color used to such powerful optical effect in Pointillism. Berrío’s intricate paper patchworks have more recently taken this allusion a step further, her designs reimagined in the fourteen glass, ceramic, and enamel mosaic installations now permanently installed at Fort Hamilton Subway Station, Brooklyn. Layered with colourful patterns and folkloric imagery, in these mosaics Berrío wanted to focus on the idea of the journey itself as a space of infinite possibility, beauty, and magical potential.

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Issy Wood, Not Turned On, 2018. 20th Century & Contemporary Art London.

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Issy Wood

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A playful double entendre referring to the closed, unseeing eyes of the central sculptural figure and a lack of sexual attraction, Not Turned On highlights Issy Wood’s delight in wordplay and an interest in the slipperiness of meaning that extends to her treatment of materials. As in her paintings of leather jackets and car interiors, here Wood generates an intriguing confusion in her use of black paint on a black velvet ground, rendering the likeness of one material onto the surface of another. Wood’s use of stretched velvet manifests an unsettling soft-focus effect when observing the figure head-on, further adding to a body of work focused on decontextualized and enigmatic objects that hover between artifact and kitsch – divorced from any historical and cultural contexts in this way, the carved figure dominating the composition becomes difficult to locate as an object, emphasized by Wood’s inclusion of a layer of floral print intervening between the viewer and the painted figure.

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Born in the 1990s, Wood is a digital native, well-versed in the ubiquitous flow of decontextualized images and information that characterizes the internet age she belongs to. Drawing out the uncanniness of these objects, and their ability to stand in for one another, Not Turned On frustrates our attempts to make the carved object legible as obsidian or hard-polished wood in a manner that recalls the careful balance between revealing and concealing struck in Surrealist master René Magritte’s subtle notion of combined objects, and the slippery exchanges between word and image, sign and signified. Wood reveals the power of material juxtaposition in generating mood and meaning, bringing our attention to the painted surface and the complex variety of associations and sensations that it gives rise to. In this way, Not Turned On reasserts the immediacy and primacy of the painted image in the Digital Age.

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Louise Bourgeois, Couple, 2002 (detail). 20th Century & Contemporary Art London.

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Louise Bourgeois

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Already in her 80s when she embarked on the final chapter of her long and celebrated career, Louise Bourgeois’ return to needles and thread signaled a profound reflection on themes of motherhood, trauma, loss, and repair. Presenting two pink bodies gently pressed against one another, heads inclined into each other’s shoulders as they hang, suspended in space, Couple is a tender portrait of intimacy, a stunning example of her late-career soft sculptures. The perishable pink bodies are evocative reminders of our own vulnerability, in physical as well as emotional terms, speaking powerfully to the visceral desire for touch and closeness. Hanging the embracing couple delicately inside the glass vitrine, Bourgeois amplifies this sensation further, removing the couple from us to float eternally, the only beings in their private universe of two. Weaving its own complex metaphors, while the fragment indicates pain and loss, the suturing together of these different components indicates the capacity for repair, speaking powerfully to our desire for wholeness, both in ourselves and in our romantic partnerships.

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Bourgeois first introduced fabric into her work in 1991 with , the architectural structure that heralded the start of one of her most significant series. Featuring a low metal bed covered in fabric quilted together from old pillow cases and postal bags inside its caged frame, Cell I highlights the indivisibility of the autobiographic from the act of sewing for the artist, the refashioned bedclothes embroidered with phrases from her diaries. Engaged in an endless cycle of weaving and repair, the spider would ultimately become Bourgeois’ most potent and iconic motif after 1994, directly linking ideas of stitching and restoration with the figure of her mother in her series of steel sculptures. As the artist elucidated: “I came from a family of repairers. The spider is a repairer. If you bash into the web of a spider, she doesn’t get mad. She weaves and repairs it.” However, in leaving the seams and sutures visible in Couple, Bourgeois highlights the painful persistence of our emotional scars and exposes the fallacy of the idea self as a self-contained whole.

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Antonia Showering, We Stray, 2020. 20th Century & Contemporary Art London.

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Antonia Showering

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My process is quite transient, in that imagery is constantly shifting, a couple embracing could become a mountain range, figures interlocking could later become the ripples in a lake.
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— Antonia Showering
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Creating rich narrative structures for her paintings to explore, Antonia Showering’s distinctive practice renders tangible the fleeting aspects of memory in compelling ways. With We Stray, the artist presents an idyllic mountain landscape with figures bathing and floating weightlessly across the still waters of a lake, bridging the personal and the universal in its treatment of memory, time, and the deep emotional connections that we forge with both people and places. At play here are the parallels between her practice and the workings of memory itself, the ways in which neither exist individually but are instead composites, added to and overlaid over time to create meaning, as felt impactfully by Showering’s use of the pentimento technique. Her figures can be seen as fading from or emerging into the scene, being remembered or forgotten, and their presence is a constituent element of the work’s fluidity. Like the movement of water, memory takes the shape of its vessel, and Showering’s embrace of the transient unfolds beautifully in the space between the concrete and the ephemeral.

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After completing her MFA at the Slade School of Fine Arts in 2018, Antonia Showering has steadily gained critical attention, appearing in several group exhibitions and selected for a range of awards and residencies including Bloomberg New Contemporaries in 2019, The Great Women Artists Residency at Palazzo Monti, Brescia, in 2018, and the 2018 Henry Tonks Award. Having announced her representation by Timothy Taylor Gallery in 2021, Showering presented her first solo exhibition, Antonia Showering: Mixed Emotion, with the gallery in early 2022.

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Caroline Walker, Afters, 2016. 20th Century & Contemporary Art London.

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Caroline Walker

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[My paintings are] something you have to look through or past to get to the subject of the work […] like a voyeur I suppose, looking in on others’ lives. — Caroline Walker
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Caroline Walker explores women in quiet moments of candid honesty, focusing on domestic or workplace environments and transforming them into studies in contemporary feminine interiority. Often these compositions contrast the unguarded subject with the framing device of their scenes, offering an intimate look at the nested dynamics of gender, labor, belonging, and the unseen human – and predominantly female – element of maintaining order. Strikingly cinematic in its sun-soaked palette and narrative power, Afters captures the tensions between public and private, ambiguity and the everyday that typifies Walker’s practice. Depicting a woman resting across an elegantly curved metal-framed sofa, a stiletto and watermelon slice casually discarded on the floor beside her, the atmosphere is languorous and intimate, Walker capturing a moment of stillness and solitude that falls between the day’s activities. Placing us in the position of the unseen observer, Walker’s awkwardly elevated perspectives and cropped angles create the impression of a fleeting glance or snapshot, as if we are witnessing the moment before the subject awakens and apologizes for sleeping on the couch.

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Walker earned her MA at the Royal College of Art in 2009 has since been the subject of several solo exhibitions internationally, including Janey at Ingleby Gallery, Edinburgh in 2020, Women’s Work at the Midlands Art Centre, Birmingham in 2021, and the forthcoming exhibition at K11 in Shanghai in November 2022. Walker’s latest solo show, Lisa, at Stephen Freidman Gallery presented a deeply intimate series of portraits documenting her sister-in-law’s journey through the first months of motherhood. Her works are included in a number of prominent public collections, including the National Museum of Wales in Cardiff, The UK Government Art Collection, London, and Kunstmuseum in The Hague.

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Flora Yukhnovich, Moi aussi je déborde, 2017. 20th Century & Contemporary Art London.

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Flora Yukhnovich

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There is something corporeal about paint […] the way a painterly gesture can talk about the physical experience of touch in a visceral way, breaking down the distance between the viewer and work.
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—Flora Yukhnovich
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Executed in 2017, the same year as her pivotal graduate show at City & Guilds London School of Art, Moi aussi je déborde is highly expressive of Flora Yukhnovich’s technical skill and immediately recognizable blend of Rococo aesthetics and contemporary cultural references. The work captures an important early moment in the development of her practice, reflecting the artist’s fluid approach to oil painting and conceptual depth as expressed through euphoric lightness. Capturing the fluctuations of the body, Yukhnovich’s gestural brushstrokes and obscured forms revitalize the drama and eroticism of the Rococo with a contemporary concern with contextualizing excess and frivolity on strictly feminist terms. At once celebrating and problematizing art historical representations of femininity, Moi aussi je déborde stages a reclamation of desire from the traditionally male gaze to a joyous recentering of the female perspective as the source of a new mythology. Among the waves of whites, pinks, and lavender tones, the angelic forms render themselves in new, self-determined configurations, recalling the words of Hélène Cixous as the viewer observes these “creatures endowed with the power to put things together and bring them back to life.”

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Following her first solo exhibition with Brocket Gallery, London, which included the present work, Yukhnovich has gone on to exhibit at Parafin, London, GASK, the Gallery of the Central Bohemian Region, Czech Republic, the Jerwood Gallery Hastings, Blenheim Walk Gallery, and Leeds Arts University. Earlier in 2022, the artist presented her first solo exhibition at Victoria Miro in London, and is currently preparing for an exhibition of new works responding to the collection at The Ashmolean, Oxford, to be opened later this year.

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\n","2022-06-22T22:24:35.000000Z","https://www.phillips.com/article/98562064/a-new-generation-of-british-women-artists",1614,3923,98562064,{"_1418":1452,"_1420":198,"_1421":1453,"_539":1454,"_1424":1455,"_1426":1456,"_1428":1429,"_1430":1431,"_1432":498,"_1433":1457,"_491":405,"_1435":1458,"_1437":1459,"_1439":1460},"https://flockler.com/thumbs/sites/889/hirst-spots-971b98b6-b0e1-4ebb-9513-620319d1354d_s600x0.jpg","\"Furfuryl Mercaptan\" and the artist's wry examinations of a minimalist, colorful, and medicated future. ","Damien Hirst: Better Living Through Brain Chemistry","

Damien Hirst, Furfuryl Mercaptan, 2004-2011. 20th Century & Contemporary Art London.

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Demonstrating on a grand scale Damien Hirst’s career-spanning interest in color and its organization, Furfuryl Mercaptan strikes a balance between art and science that has proven to be a conceptual touchstone for the artist’s practice. Bridging the sense of order and focus on scientific modes of categorization that we find in his earlier Medicine Cabinets with the exuberant approach to color taken in his Spin Paintings, the grid of 306 evenly spaced and uniquely colored dots are set against a brilliant white ground, perfectly uniform in compositional arrangement. The titles of works from this series were selected at random from the alphabetically arranged catalogue of drug company Sigma-Aldrich’s products that Hirst first stumbled across in the early 1990s. Furfuryl Mercaptan is most often used as a food flavoring agent, characterized by a bitter, coffee-like taste – an appropriate selection given the interplay between the work’s use of color and its conceptual basis of how the eye registers different hues.

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Likened to an array of colored pills, the first spots date from the very outset of Hirst’s career, painted directly onto the wall of the Surrey Docks Warehouse in the final phase of the now legendary Freeze exhibition curated by Hirst as an undergraduate student at Goldsmith’s in 1988. Just as in the innovative Medicine Cabinets which he first embarked on during the same year, Hirst found that he could generate infinitely variable results from imposing certain limitations in terms of the size and color of his forms, their arrangement in relation to one another, and the number of spots, pills, or boxes included in each work. The grid structure of the Spot Paintings allowed for just such a formulaic approach. Arranged with 17 uniformly sized multichromatic spots along the vertical axis and 18 along the horizontal, Furfuryl Mercaptan possesses a striking sense of compositional balance and harmony in an almost pharmaceutical sense. One can easily imagine the television advert to accompany such an image: a chemical imbalance made stable as the previously irregular spots all align into a uniform, stable grid. Speak to your physician today.

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The present work is rendered in mixed hues of household paint – no single color appears twice, and although created methodically by hand, Hirst was interested in the idea of the works appearing to have been executed by a machine, or “by a person trying to paint like a machine.” The colors possess a remarkable mutability when placed next to one another, some appearing to recede while others jump forwards in a manner that creates a sort of observer effect, and further an irony at the heart of the field Hirst examines – that of the idea that no two symptoms or cases are exactly alike, but uniformly, in the attempt to wrangle disparate individuals into a predetermined matrix of wholeness, there is, of course, a pill for that, highlighting what the artist calls a “scientific approach to painting in a similar way to the drug companies’ scientific approach to life. Art doesn’t purport to have all the answers; the drug companies do.”

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Seen within the larger context of Hirst’s oeuvre, the work takes on additional meaning as a continuation of the process which began with the Medicine Cabinets and first spots of his formative years. Hirst has likened these arrangements to the simple geometries, harmony, and seriality of Minimalism, with a developed confidence immediately translated here, where the careful arrangement of colors evokes the clean, sterilized world of the pharmacy as much as the ailing body itself. The rigidity of the grid is offset by a more ineffable, poetic dimension that conflates ideas about medicine, art, and the ephemerality of life, while also borrowing from the colorful and loud use of ordinary shapes by 1960s Pop Art. As Hirst notes: “I once said that the Spot Paintings could be what art looks like viewed through an imaginary microscope,” and through this lens, each spot provides a single breakthrough as it falls in line for within the massive, prophylactic grid.

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Discover More from 20th Century & Contemporary Art >

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《拉咸沃特糖果》

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John Chamberlain