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| Cerith Wyn Evans, Composition for 37 Flutes (detail) |
The Hepworth Prize for Sculpture, 2018 is at the
Hepworth Wakefield until 20 January 2019
The 2nd biennial Hepworth Prize for Sculpture was awarded to
Cerith Wyn Evans on 15 November,
2018.
The other shortlisted artists are
Michael Dean,
Mona Hatoum,
Phillip Lai and
Magali Reus. (Watch short videos about each artist,
here.)
Reviews
Adrian Searle (
The Guardian)
Mark Hudson (
The Telegraph)
Hettie Judah (
Frieze)
Cerith Wyn Evans
Cerith Wyn Evans’s work on display at The Hepworth Wakefield
combines thirty-seven crystal glass flutes in two overlapping arcs. The
organ pumps that breathe life into the flutes are unflinchingly mechanical
– the artist makes little attempt to hide their internal workings – and
yet the work engages the body of the listener. As we stand before the work, our
breath cycles through the pumps and sounds through the flutes. It is as if
we hear the sound of our own presence. (Source:
Hepworth Wakefield)
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| Cerith Wyn Evans, Composition for 37 Flutes (detail) |
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| Cerith Wyn Evans, Forms in Space ... by Light (in Time), Tate Britain, 2017 |
Michael Dean
Dean’s new work for The Hepworth Wakefield recreates a
street in concrete tongues, along which we are invited to walk.
The tongues – which could also be torsos – are cast using the
artist’s own body. The figures are ‘three crying LOLs’ which take the
dimensions of the artist and his two sons. ‘LOL’ and the
‘laugh-out-loud-to-the-point-of-laughing-crying emoji’ are often repeated
in Dean’s works, appearing alongside padlocks and coins – which he
sees as forms of utterance in themselves – to contain emotion in a
gesture. (Source:
Hepworth Wakefield)
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| Michael Dean, installation |
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| Michael Dean, installation |
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| Michael Dean, Having you on, 2018 (Installation at Baltic) |
Mona Hatoum
Mona Hatoum is showing two new sculptures alongside
significant earlier works, revealing the breadth of her explorations of
contradictions and conflicts. Hatoum’s sculptural projects use reduced physical
means and shifts of scale and materials to destabilise our perceptions. In the
new work Orbital 2018, the artist transforms reinforcement steel into a globe encrusted
with meteor-like clumps of rubble, resulting in a work reminiscent of
demolished buildings. Hot Spot (stand) 2018 is a new reimagining of Hatoum’s
iconic neon globe, where the whole world pulses with conflict. (Source:
Artlyst)
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| Mona Hatoum, Orbital, 2018 |
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| Mona Hatoum, Hot Spot (stand), 2018 (detail) |
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| Mona Hatoum, Hot Spot (stand), 2018 (detail) |
Phillip Lai
Phillip Lai debuts a group of new sculptures alongside his
2016 work
Guest loves host in a way like no other. Using existing mass-produced
objects as well as his own precisely fabricated forms, Lai’s surprising and
poetic arrangements investigate ideas of production, consumption and
hospitality. A major new work consisting of a series of stacked cast
polyurethane basins will unfold across one long wall of the gallery space. Lai
describes these objects as images of an ‘absurd expenditure of labour’, their
accumulation invoking both the protracted processes of the artist and the
construction activity implied by their cement-marked surfaces. (Source:
Artlyst)
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| Phillip Lai, Untitled, 2017 |
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| Phillip Lai, Untitled, 2017 |
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Phillip Lai, Guest loves host in a way like no other, 2016 (detail)
|
Magali Reus
Magali Reus presents an installation of new sculptures
alongside an architectural intervention in the gallery space. Reus’ works hint
at functionality but present a material reality detached from any specific
purpose. New works from Reus’ series Sentinel combine references to woven fire
hoses and nozzles with more amorphous elements cast in fibreglass with metal
appendages. Reus will also present four works from a new series, Dearest, which
incorporate re-imagined ladders, hats and bottles in sculptural configurations
that cast them as protagonists in the delivery of a romantic serenade. (Source:
Artlyst)
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| Magali Reus, Sentinel (Watermelon), 2018 |
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| Magali Reus, Arbroath Smokie, 2016 |
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| Magali Reus, Hwael (The Flat), 2017 |
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