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anthony caro: the path to perspex - perspex sheet

by:Cailong     2019-08-04
anthony caro: the path to perspex  -  perspex sheet
On last October, Anthony Carlo, an abstract British sculptor, died of a heart attack at the age of 89.
Many artists close to the age of 90 will be content to rely on their honor to emulate the victory decades ago. Not Caro.
In the months leading up to his death, he worked hard to create an extraordinary collection of 25 sculptures, including the surprising new material Perspex.
This collection can be seen in Anthony Carlo: The final work, an exhibition at the Anelli Gallery in London.
For years, Caro has created art with steel, wrought iron, bronze, wood, silver, porcelain, pottery and even paper.
However, he always avoids the plexiglass except for a sculpture.
He began his work shortly before his death, proving his artistic courage and curiosity.
The origins of the series coincide with the most ambitious projects of his career, and he plans to be at the end of life: a huge steel sculpture measuring the length of three city blocks, located in the central reservation area of Park Avenue in Midtown Manhattan.
As he said, it is divided into three parts, "just like the different movements of the symphony," and is an epic undertaking full of challenges.
Logistics itself is an idea. boggling.
Caro is best known for making an innovative decision in his 60 s to remove the sculpture from the base, thus summoning a more direct --to-
The relationship between his art and the audience.
"All my work is sweet," he once said-however, this is by no means the Park Avenue project.
Is late painting by great artists their best work?
Sir Anthony Caro: The world of "gentle, considerate and generous" sculptor Sir Anthony Caro, so when the plan failed in early 2012 because it was too expensive, Caro was disappointed
Free from stress, he can focus on a completely different series: the Perspex works.
These sculptures pose a greater challenge to him: Steel is his second nature, but Perspex is not familiar with it.
Caro works almost by accident with solid clear plastic.
As he began planning the Park Avenue project, he was also interested in the possibility of glass sculpture.
Strangely, the catalyst is an antique silver salt bank with a broken lining made of blue glass that he owns and wants to fix.
At the suggestion of studio manager Patrick Cunningham, Caro took the salt bank to a custom glass manufacturer and repairman in Essex.
In the workshop of the company, he saw various pieces of old glass.
He spent his whole life in the scrap yard looking for unwanted metal pieces that could become sculptures, his eagle-
Just as the eyes fine-tune "prey" or inspiration.
He left the workshop with several large glass bowls.
Back in his studio, he worked at a piano factory in Camden Town and has been trying to incorporate bowls into sculptures since 1969.
At first, the result was not ideal.
Caro told art historian Tim Marlow in 2010: "Recently I 'd love to work on glass . . . . . . But I find it difficult . ".
"But I'm interested in glass because it's 'There, not there '.
"After many attempts to work in the glass, he was frustrated with the fragility of the glass-it was crispy and often chip because it was lowered to the right position-and completely abandoned
Instead, he began experimenting with plexiglass.
At first, Caro was skeptical.
"He felt that competition with steel was not" true "enough," said Neil Ayling, an assistant to him.
"He doesn't like the idea of trying to be a glass," said another aide, Olivia barks . ".
"But then we got some samples of Perspex for him and he realized that the possibilities were endless.
From this point on, Caro, who still visits the studio every morning, can often see him wearing a small Perspex color sample around his neck, each on the square, like
Avant-garde jewelry.
It can be expensive to make a custom plexiglass according to his exact specifications, and time is tight
Consumed, so Caro had to work "blindly"-draw where the plastic would end up with rough wood.
In an interview on 2013, he explained: "When you start making, you can't try with something that's really transparent, it's too fragile.
So you work with alternatives like plywood or medium fiber board.
But since these things are not transparent, you have to trust them.
"Caro also had to wait a few weeks for Perspex's sheets to come back from the factory, which goes against his intuition at the studio, where he was always eager to move on.
"This is a challenge for him," Cunningham said . ".
"After he did everyone, he would say, 'I don't do Perspex anymore-I hate it, it's too slow.
This is how he really feels.
But as the series continues, it gets smoother and he knows where he's going.
The other side of this frustration is that when Perspex finally appears, it causes a lot of excitement.
"Whenever a new piece of plexiglass comes back, Tony's energy will double," Ayling said . ".
"He often looked at it and said, 'Gosh, I didn't expect-it was so shocking.
One of the most attractive aspects of Caro's Perspex series is the dramatic re-introduction of color to his art.
This is the first example of the Venetian (2011-12)
He found it when he was preparing for Park Avenue.
Placed on the steel frame is a transparent plexiglass shelf, consisting of two parts, the color of the rich red bull blood.
The decision to include this Perspex table is a breakthrough.
The audience suddenly remembered Caro's iconic 60-year-old sculptures, which also had a sense of loss, bright colors and the use of undisguised industrial materials.
So should we conclude that in the Perspex series, Caro is thinking about or even re-discussing early achievements?
I'm not sure.
"He has never looked back," said his widow, Sheila Jilin . ".
"He always wanted to go forward.
Tony, he just didn't think backwards.
Instead, Caro presents himself with a new challenge: how to make coherent sculptures with contrasting materials, if not completely opposite.
His best work is always motivated by a powerful push. and-
Pull between the form of opening and closing, the vertical and horizontal shaft, the slender metal curve and the strong expansion of the rusty steel.
Similarly, the Perspex series is dedicated to coordinating the tension between smooth, transparent acrylic resin and textured, opaque steel.
A few months ago, I first saw the last piece of the series, mirror.
It is installed in a sunny gallery, and one of its blue Perspex panels captures the sky outside the window with the clarity of the crystal ball.
Here, under the interaction of light, empyrean Perspex and massy, the steel on Earth, are a metaphor for the relationship between the mind and the body.
As Caro once said: "I believe art is about the feeling of being alive.
"Caro is always exploring, always looking for new ways of artistic creation, and always keen to push things forward.
"He has never lost excitement and tension," Girling said . ".
"He prepares his work every day.
Cunningham: "His body is old, but he has never been old in his head.
He has a good and young view of life.
"In fact, shortly before his death, Caro decided to turn his hand to a new material, which provided us with a final boom, which, in hindsight, summed him up completely.
This is an edit excerpt from the catalogue article that Anthony Carlo is accompanying: The Last sculpture of Annelli Jada Academy of Fine Arts, W1, London (020 7629 7578;
Annelyjudafineart. co. uk)
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