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SCULPTURES IN THE CITY EXHIBITION 2019.

We have visited an open air exhibition is called 'Sculptures In the City' in the centre of the city with our members. The Sculpture In the City is an annual sculpture park that uses the urban realm as a rotating gallery space for us to engage with the locals, tourists and visitors like us. This is an annual public art programme bringing both established global artists and rising home-grown talent to the wider public’s attention.




Leo Fitzmaurice, Arcadia, (2019), Reflective vinyl, paint, aluminium, steel, 220x160x10cm


Leo Fitzmaurice’s Arcadia (2019) is one element of a multi-part sculpture based on the conventions of public signage. The works are part of the artist’s ongoing interest in what the he terms ‘information- objects’. His work looks at how these objects are designed to relate to us physically within the environment. With Arcadia the artist has substituted the factual information, usually found on these signs, for something more poetic, allowing viewers to enjoy this material, along with the space around it in a new and more open- ended way. Arcadia was originally commissioned by Yorkshire Sculpture Park where an earlier version of Arcadia still resides.

Marisa Ferreira, Series Industrial Windows I (2018), Powder coated stainless steel, acrylic glass

206 x 166 x 14cm (each)


The artwork invokes Pierre Nora’s notion of “lieux de mémoire” to reflect the urban landscape as fragment, memory and vision and to question how industrial ruins solicit affective, imaginative and sensual engagements with the past.


The artwork is made of powder coated stainless steel and coloured perspex and its shifting nature of light engages and challenges the observer’s perception of space and colour. The artwork dimensions present the exact measurements of the existing windows at Sampaio Ferreira.



Nathan Coley, The Same for Everyone (2017), Illuminated text, scaffolding


Nathan Coley is interested in the idea of ‘public’ space, and his work explores the ways in which architecture becomes invested – and reinvested – with meaning. Across a range of media Coley investigates what the built environment reveals about the people it surrounds and how the social and individual response to it is in turn culturally conditioned. He is best known for a series of illuminated text works that take found phrases (never written by the artist) and by placing them in new contexts creates a powerful ambiguity of meaning. Here the phrase ‘The Same for Everyone’, which the artist first encountered on a hand-painted sign in Denmark, might be read as either a question, provocation, utopian proposal or a statement of protest.




Kevin Francis Gray, Reclining Nude I, (2016), Statuario marble, 96x215x73cm



Reclining Nude I’ marks a turning point in Kevin Francis Gray’s practice as a sculptor. Moving away from figuration and classicism, the larger-than-life ‘Reclining Nude I’ steered his new body of work into an exploration of the materiality of marble. While her form echoes the reclining nude form well-known from the likes of Matisse, Gray is seeking to push the limits of the stone and contemporise ancient materials and stone-carving techniques. The result is an art historical trope that has been brought into the 21st century and invites the viewer to engage with the sculpture much more intimately, confidently and physically.



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