Courtyard, marble, 21 x 26.5 x 2.5 cm., dates from 1985 and was commissioned by Harlow Council. It sits in the Gibberd Gallery within the Civic Centre. The Essex town also houses Vertex, Mason's first commissioned public work and his first major work Hinge purchased by Sir Frederick Gibberd. It was chosen to celebrate Alan Mead's service to the town as its Treasurer. Sir Frederick Gibberd, the town's Master Planner, stimulated the collection and placing of works of contemporary art throughout the town.
Showing posts with label Harlow. Show all posts
Showing posts with label Harlow. Show all posts
Sunday, 9 October 2016
Courtyard
Courtyard, marble, 21 x 26.5 x 2.5 cm., dates from 1985 and was commissioned by Harlow Council. It sits in the Gibberd Gallery within the Civic Centre. The Essex town also houses Vertex, Mason's first commissioned public work and his first major work Hinge purchased by Sir Frederick Gibberd. It was chosen to celebrate Alan Mead's service to the town as its Treasurer. Sir Frederick Gibberd, the town's Master Planner, stimulated the collection and placing of works of contemporary art throughout the town.
Wednesday, 2 January 2013
Hinge
Hinge is a piece sited in the Gibberd Garden in Harlow, Essex - established by Sir Frederick Gibberd and continued after his death by his wife Lady Patricia. She, in particular, maintained a relationship with the artist and collected additional pieces alongside those her husband had purchased. Hinge is the largest work in their collection. Carved from Locharbriggs sandstone it measures 60 x 60 x 38 inches.
Monday, 20 December 2010
All At Sea
This piece was exhibited in the exhibition 'The Cutting Edge' - Sculpture 1977 - 87 that opened in Bolton Museum & Art Gallery on 11th April 1987 and subsequently toured to the Usher Gallery, Lincoln and Wolverhampton Art Gallery. It is in the collection of Lady Patricia Gibberd, an early supporter of Mason's work following the commission by her husband , Sir Frederick Gibberd, for Harlow New Town.The piece utilises a fragment of Carrara Marble, a frequent decision to exploit the naturally occurring shape of the material within which a dynamic formal construction emerges. Like many works from this period the forms are in part determined by the internal relationships between them with just the suggestion of externally arrived at characteristics. This ambiguity of form and subsequent meaning is often found in much of work of the artist. Equally evident is the delight in the interplay between the surface finishes, the rough chisel marked with that of the flat polished. It is also an early example of the occasional introduction of other material, paint and lead, that crops up sporadically in work over the years. The sculpture is approximately 14" high.
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