Flat 28

Richard Deacon

Flat 28, 201634 x 43.8 x 36.5cmPrice on Request
Details
MaterialGallery
Glazed refractory concreteChisenhale Gallery
Description
Human-crafted. AI-refined.

This minimalist sculpture features a simple white cube with a dripping, irregular black shape atop it. The black form appears to be a distorted, organic ring or loop, creating a striking visual contrast with the clean, geometric base. The artist's use of bold colors and textures, combined with the juxtaposition of the geometric and organic elements, suggests a commentary on the relationship between order and chaos, or the interplay between the natural and man-made worlds. The piece reflects a contemporary sculptural style that challenges traditional notions of form and materials. ...

Similar Artworks
Untitled
John StezakerUntitled, 197620000 GBP
however
Cerith Wyn Evanshowever, 2022Price on Request
H425
Paco KnöllerH425, 2016Price on Request
Double Shadow XXXIV
John StezakerDouble Shadow XXXIV, 201410000 GBP
Office Building, Toronto, Canada
Dan GrahamOffice Building, Toronto, Canada, 1982Price on Request
Laughing for crying
Michael DeanLaughing for crying, 2019Price on Request
Barrow
Alison BrittonBarrow, 2019Price on Request
From Moment To Moment
Stephen WillatsFrom Moment To Moment, 2006Price on Request
Angel Burst 1
John RussellAngel Burst 1, 202415000 GBP
SEX BOMB
Sarah LucasSEX BOMB, 2022440147 USD
Untitled  photographed by David Ward (Chisenhale Gallery 29 July 1986)
Artist
Richard Deacon
B.1949, British

Richard Deacon’s voluptuous abstract forms have placed him at the forefront of British sculpture since the 1980s and, hugely influential, his works are visible in major public commissions around the world. His voracious appetite for material has seen him move between laminated wood, stainless steel, corrugated iron, polycarbonate, marble, clay, vinyl, foam and leather. As he explains: “Changing materials from one work to the next is a way of beginning again each time (and thus of finishing what had gone before)”. Deacon describes himself as a ‘fabricator’, emphasising the construction behind the finished object – although many of the works are indeed cast, modelled or carved by hand – and accordingly the logic of the fabrication is often exposed: sinuous curved forms might be bound by glue oozing between layers of wood or have screws and rivets protruding from sheets of steel, wearing their hearts on their sleeves. Such transparency highlights the reactive nature of the process: it is part of a two-way conversation between artist and material that transforms the workaday into something metaphorical. The idea of ‘fabrication’ also denotes making something up, of fiction rather than truth, and this knack for wordplay surfaces in Deacon’s titles, which might establish juxtapositions or wreak new meaning from familiar sayings or clichés – see Let’s not be Stupid (1991), No Stone Unturned (1999), Water Under the Bridge (2008) or Shiver My Timbers (2016). ...

Richard Deacon: Artworks
Flat 28
Richard DeaconFlat 28, 2016Price on Request
Flat 27
Richard DeaconFlat 27, 2016Price on Request
Cut & Fold #1
Richard DeaconCut & Fold #1, 2022Price on Request
Untitled  photographed by David Ward (Chisenhale Gallery 29 July 1986)
Richard DeaconUntitled photographed by David Ward (Chisenhale Gallery 29 July 1986), 1981Price on Request
Chisenhale Gallery
Gallery
Chisenhale Gallery
London