Henry Moore: Carvings - Out of the Block

Hoyland achieved international recognition as an abstract painter, known for his powerful large-scale images, full of energy and feeling. In 1994, in the lead-up to his sixtieth birthday, he made his only mature group of sculptures. Working at the Royal College of Art in London, he produced around 25 ceramic works, which he described as “these mad little hybrids”. A new display at the Henry Moore Institute, Imaginary Beings, will focus on this body of work, bringing together a selection of four sculptures that will be shown in conversation with four related paintings.</p><p>Brightly coloured and loaded with creatureliness, Hoyland enjoyed the “freedom” of working with ceramics and “the possibility of introducing irony and even humour” into his art. The ceramics are an outcome of a change Hoyland made to his painting about a decade earlier. In the early 1980s, he turned away from the transatlantic High Modernism with which he had made his name, and sought a more wide-ranging, less abstract art, with imagery often inspired by his travels around the world, particularly to Bali and the Caribbean.</p><p><br></p>" />

William Henry Fox Talbot</a> to <a target="_blank" href=https://www.mutualart.com/Exhibition/Henry-Moore--Carvings---Out-of-the-Block/"/Artist/Walker-Evans/87E674D8C2CC7288">Walker Evans</a>. Throughout this time photography has continued to influence the conception, process, documentation, marketing, display and reception of sculpture. Sculptors have not only collaborated with photographers but have themselves experimented with photographic techniques in the creation and documentation of artworks, including the use of cameraless photography, polaroids, collage and montage.</p><p><br></p>" />