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These Hands Are Models - Martin Westwood

November 1, 2011 by Kay

Stanley Picker Gallery

6th October – 26th November 2011

These Hands Are Models (installation view) 2011

For a number of years Martin Westwood’s work has focused upon reinterpretations of the histories and technologies of print in relation to his practice as a sculptor. Westwood’s interest in renegotiating or toying with the mechanisations inherent in print have gone hand in hand with a fascination with the politics of finance and early money, and the realization of it as an initiating form of print and mass-produced object, through the first stamping of coins.

Following an Abbey Fellowship at The British School at Rome researching the origins of money and currency, the context for his work expanded from the recent past of political-economy towards a wider historical perspective concerning the theoretical and formal implications of economy and exchange. Westwood began to experiment with the development of extruded physical forms as a three dimensional manifestation of print; exploring a rudimentary notion of print as the organisation of formless, inchoate material by ideal, master profiles.

These Hands Are Modelled, Fingered, Numbered (detail) 2011
Courtesy the Artist and The Approach, London

A residency at the European Ceramics Work Centre (EKWC) in Holland and further extensive research as part of his Stanley Picker Fellowship, working within the Faculty of Art, Design & Architecture’s specialist ceramic workshop facilities at Kingston University, resulted in the production of new large-scale ceramic works.

These Hands Are Models presents the resulting sculptural forms as considerations of quantification and sculptural duration, measurement and the totem, in an unraveling dialogue within the gallery environment. The new ceramic pieces are presented on customised plinths of stacked walnut-veneered box-section, perforated steel sheeting and smoked glass that assimilate the visual vernaculars and architectures of high-finance and corporate culture. The resulting works sit somewhere between the factory-floor aspirations of mechanization, production and contingent repetition, and the fetishised, conspicuous-consumption of the executive environment.

These Tools are Stones, Animals (Violet) (detail) 2011
Courtesy the Artist and The Approach, London

For more information on this exhibition please visit theStanley Picker Gallery website