Clement Meadmore’s Sculptures ‘Explore the Potential of Geometry’

NEW YORK—Marlborough Gallery in Chelsea is featuring sculptures large and small by Clement Meadmore (1929-2005). The sculptures make quite a statement in the space.

According to the gallery, Australian-born Meadmore “explained his three goals in creating sculpture were to explore the expressive potential of geometry, to make the whole piece comprehensible from any viewpoint, and to avoid the appearance of a front and a back in the sculpture. His works typically involve a rectangular form that dynamically twists and moves through space, seemingly creating itself in the process.”

“Clemont Meadmore: Sculpture” is on view from Dec. 8, 2011, to this Saturday, Jan. 14, 2012.

All photos by Arts Observer

Above, The included works have Abstract and Minimalist references and date from 1965 to 2000; Top of page, “Rune,” 1995 (aluminum painted black).

From left, “Outspread,” 1991 (aluminum painted black); “Moreover,” 1996 (bronze).

“Delaunay’s Dilemma,” 1992 (bronze).

From left, “Crossing,” 1997; “Offshoot,” 1982; “Upsurge,” 1989; “However,” 1998; “Swing,” 1969 (all bronze).

“Criss Cross,” 1965 (corten steel).

There is one comment

  1. Robert Morton

    Meadmore somehow never got the attention he deserved during his lifetime, so it is very appropriate and fitting that he gets this good, big show at a respected gallery after his demise. It is especially interesting to see how his tiny maquettes translate into very large pieces, something that Meadmore was able to achieve time and again without stumbling.

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