WA MATRIX 179 Brochure.qxp_WA MATRIX 179 Brochure 6/6/18 11:24 PM Page 1 CONRADSHAWCROSS NEED T

MATRIX 179 Industrial roboti through balletic m Mathematics an Illusion and visio

None of these wo sculpture here in the work of Engli Academy in 2013 museum present sculpture, two m interviews, and a modes. While the provide insight in uncommon accom

These interdiscip experience of ph curiosity base and literary― artis Ruskin School of University Colleg form in a variety and sound) and o works appear bot matters. Did his e 2003) or a spinni the early industr catapult) as part Do their distincti violence, and ala more current wo pieces executing (fig. 3) alike th harmonies? ―One begins with a con JUNE 21, 2018 – SEPTEMBER 9, 2018 COVER: MONOLITH (OPTIC), 2 1 AND STAINLESS STEEL; 236 ⁄4 WADSWORTH ATHENEUM MUSEUM OF ART PHOTO: MARC WILMOT WA MATRIX 179 Brochure.qxp_WA MATRIX 179 Brochure 6/6/18 11:24 PM Page 2

FIG. 1: LOOP SYSTEM — MAJO 5 1 ROSS NEED TITLE MIXED MEDIA; 88 ⁄8 X 118 ⁄8

79 Industrial robotics hacked to create an aesthetic environment through balletic movement. Mathematics and sound mapped in solid forms. Illusion and vision challenged by built solids and voids that hide their materiality.

None of these would strike us as a particularly familiar theme for contemporary sculpture here in America. Yet each has been a focus of creativity and realization in the work of English artist Conrad Shawcross (born 1977, admitted to the Royal Academy in 2013) over the first two decades of his career. This project the first museum presentation of his work in the Americas combines one colossal― outdoor sculpture, two mid-size sculptures, several maquettes― and project drawings, artist interviews, and a new shadow-producing machine that touch upon each of these modes. While they form a compact study of only the past few years’ work, they also provide insight into the thinking and materiality of a systems-inspired sculptor of uncommon accomplishment.

These interdisciplinary approaches to sculpture come from both the practical experience of physics and the natural world, but also from Shawcross’s keen curiosity based in the humanities and sensitivity to the questions posed by visual and literary― artists across the twentieth― century. He was trained in England (at the Ruskin School of Art, University of Oxford, and then at the Slade School of Fine Art, University College London) at the turn of the millennium. The objects he makes take form in a variety of materials and scale, sometimes embracing ephemeral effects (light and sound) and other times embracing machine-based outcomes. At first glance, his works appear both omnivorous and entirely practical in regard to these physical matters. Did his early, caged machines a massive rope-winder (Nervous Systems, 2003) or a spinning light rotor made of― oak (fig. 1) require the handcrafted look of the early industrial age (think of a trestle train bridge― or perhaps a Renaissance catapult) as part of a recapturing of the basic and essentialist goals of the engineer? Do their distinctive machine sounds intend to menace and remind us of the anxieties, violence, and alarm we feel around the robotic world? And how did they lead to his more current work’s frequent embrace of larger, metal sculptures slower robotic pieces executing more compound, precise movements (fig. 2) and ―static sculptures (fig. 3) alike that create both ephemeral beauty (often shadow play) and solid harmonies? ―One key to appreciating these questions and understanding this shift begins with a consideration of the sculptor’s point of view. 9, 2018 COVER: MONOLITH (OPTIC), 2016. GALVANISED STEEL 1 5 3 AND STAINLESS STEEL; 236 ⁄4 X 85 ⁄8 X 16 ⁄4 IN. M OF ART PHOTO: MARC WILMOT WA MATRIX 179 Brochure.qxp_WA MATRIX 179 Brochure 6/6/18 11:24 PM Page 3

FIG. 1: LOOP SYSTEM — MAJOR THIRD 5:4, 4 PART COUNTERPOINT, 2006. 5 1 3 MIXED MEDIA; 88 ⁄8 X 118 ⁄8 X 98 ⁄8 IN.

materiality.

emporary realization in he Royal t the first ossal― outdoor wings, artist h of these ork, they also sculptor of

ractical s keen posed by visual gland (at the ol of Fine Art, e makes take eral effects (light st glance, his e physical ous Systems, crafted look of naissance f the engineer? f the anxieties, y lead to his ower robotic ic sculptures and solid ng this shift

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FIG. 2: SLOW ARC INSIDE A C 7 LIGHT, MECHANISM; 127 ⁄8 X ARTSCIENCE MUSEUM. PHOT

Shawcross trusts rhythms of astro mathematics and the artist, but rat wonders how far he is inciting in u world the varia mathematical― pro approach to scie artists, living and More exceptiona architecturally-o of the engineer in explore what has these systems ca a commission for result the scul the lobby― push strength of― meta WA MATRIX 179 Brochure.qxp_WA MATRIX 179 Brochure 6/6/18 11:24 PM Page 5

FIG. 2: SLOW ARC INSIDE A CUBE VIII, 2017. POWDER COATED STEEL, FIG. 3: HARMONIC MANIFOLD 7 1 1 5 LIGHT, MECHANISM; 127 ⁄8 X 77 ⁄2 X 55 ⁄8 IN. COMMISSIONED BY PATINATED BRONZE; 88 ⁄8 X 3 ARTSCIENCE MUSEUM. PHOTO COURTESY ARTSCIENCE MUSEUM

Shawcross trusts in the fundamental systems of the world around us whether the rhythms of astronomy or human-made constructs to understand them,― such as mathematics and computing so profoundly that his work is not overdetermined by the artist, but rather shaped― by the capabilities for making those rules visible. One wonders how far he is taking us closer to the limits of physics, visually, and how much he is inciting in us a renewed focus on and consideration of the forces of the material world the variable track of the sun, the inescapability of gravity, the limits of mathematical― progressions as manifest in his sculptures and machines. In this approach to science thinking,― he can be compared to any number of conceptual artists, living and dead, who cultivate mathematics for aesthetic opportunity. More exceptionally, this method allows for the scalability usually found in architecturally-oriented practitioners. In fact, Shawcross often employs the tools of the engineer in the process and realization of his work. One early opportunity to explore what has now become his hallmark comfort with powering sculpture with these systems came from the artist’s ambition to work large. At age 30, he completed a commission for Unilever’s headquarters on the Victoria Embankment. The massive result the sculptural machine Space Trumpet (2007) perched from six stories above the lobby― pushed the material limits of wood, and it was clear that the tensile strength of― metals and the opportunity for both welding and precision machining that WA MATRIX 179 Brochure.qxp_WA MATRIX 179 Brochure 6/6/18 11:24 PM Page 6

FIG. 3: HARMONIC MANIFOLD 1 (5:4), 2011. 5 3 3 PATINATED BRONZE; 88 ⁄8 X 35 ⁄8 X 35 ⁄8 IN.

whether the ― such as determined by s visible. One , and how much of the material e limits of nes. In this nceptual rtunity. d in ys the tools portunity to lpture with 0, he completed . The massive ix stories above he tensile machining that WA MATRIX 179 Brochure.qxp_WA MATRIX 179 Brochure 6/6/18 11:24 PM Page 7

FIG. 4: INSTALLATION VIEW, THE DAPPLED LIGHT OF THE SUN, 2018. FIG. 5: THE OPTIC CLOAK, 201 14 SEPTEMBER — 25 OCTOBER 2015. CHATSWORTH HOUSE, ENERGY CENTRE, GREENWICH DERBYSHIRE, UK. PHOTO: MARC WILMOT PHOTO: MARC WILMO

come with metal substrates would open up a future at every scale. A fluency in metals Greco-Roman my has liberated his sculptures to become, variously, shade-generating trees and clouds and relevance, fi of weathering steel (fig. 4), sine waves of musical chords frozen in cast iron (fig. 3), engagement at t and skins reactive to the sky (cover image). dialogue with Pie Satyr (1600) at t The artist also seeks to reacquaint us with questions of our human understanding of (1933). Shawcro the universe, to challenge our sense of control and rationality, to fundamentally (1559-75) at Lon embrace the insufficiency of our knowledge. Asked to remark on the innovative robot caressing/ approach he applied to an open competition associated with the massive smokestack next to Titian’s c profile of the new Energy Centre on London’s Greenwich Peninsula (fig. 5), he said: Similarly, Shawcr I guess with the work I’m trying to be a bit unnerving. It’s trying to ask questions Optic Cloak fin rather than answer them. My primary goal is not to educate people I just want to Stegosaurus―(19 chisel away at the sense of reality. I hope the work illuminates how― incomplete things Sculpture (1977) are in terms of our understanding of our sensory envelope. I’m not trying to preach.1 sculptural and ar half of the twent His sculptural solution to that particular challenge of making a structure that both from numeric rat embraced its functional role and played with our capacity― to perceive it as a solid artist’s work forw form informs so many of his machines and static works. machines (fig. 7) ― For all the harnessing of (or is it abandoning to?) systems, the work is remarkably THOMAS J. LOUGH consistent in its pursuit of beauty. His vocabulary is filled with references to classical Director rules of western music scales, golden mean proportions, Fibonacci sequences, ― WA MATRIX 179 Brochure.qxp_WA MATRIX 179 Brochure 6/6/18 11:24 PM Page 8

FIG. 5: THE OPTIC CLOAK, 2016. ARCHITECTURAL INTERCENTION AT THE FIG. 6: DETAIL OF PARADIGM ENERGY CENTRE, GREENWICH PENINSULA, LONDON, UK. 160 X 69 X 10 FT. RAL INTERCENTION AT THE EN PHOTO: MARC WILMO LONDON, UK. 160 X 69 X 10 F

uency in metals Greco-Roman mythology. And his sculptures, for all of their contemporary materiality ees and clouds and relevance, find stability and harmony among earlier art. When first discussing an t iron (fig. 3), engagement at the Wadsworth Atheneum, the artist asked if he could make work in dialogue with Pietro Francavilla’s colossal marble sculpture Venus with a Nymph and Satyr (1600) at the center of the International Style atrium of the Avery Memorial derstanding of (1933). Shawcross considers his previous response to Titian’s Death of Actaeon amentally (1559-75) at London’s National Gallery one of his pivotal works. A balletic industrial novative robot caressing/carving an antler in real time, Trophy (2012) was on view in the room ve smokestack next to Titian’s canvas. 5), he said: Similarly, Shawcross’s stainless steel Monolith (Optic) related to the monumental questions Optic Cloak finds neighbors on Main Street, just steps― away from Alexander Calder’s just want to Stegosaurus―(1973), Tony Smith’s Amaryllis (1965), and Carl Andre’s Stone Field complete things Sculpture (1977). And upon entering the Wadsworth Atheneum one encounters the ng to preach.1 sculptural and architectural work of Sol LeWitt and many other artists from the second half of the twentieth century up through today many who cultivate art systems cture that both from numeric rationality. All the while, an exactness― and abstract clarity propels the t as a solid artist’s work forward, whether in the finishes (fig. 6) or the smooth motion of his machines (fig. 7).

remarkably THOMAS J. LOUGHMAN ces to classical Director sequences, WA MATRIX 179 Brochure.qxp_WA MATRIX 179 Brochure 6/6/18 11:24 PM Page 9

FIG. 6: DETAIL OF PARADIGM B (SOLID), 2018. WEATHERING STEEL. FIG. 7: LIMIT OF EVERYTHING RAL INTERCENTION AT THE ENERGY‒ CENTRE, GREENWICH PENINSULA, MECHANICAL SYSTEM, LIGHT LONDON, UK. 160 X 69 X 10 FT. PHOTO: MARC WILMO

ary materiality t discussing an make work in h a Nymph and ry Memorial f Actaeon etic industrial ew in the room

e monumental exander Calder’s tone Field counters the from the second art systems ty propels the otion of his

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FIG. 7: LIMIT OF EVERYTHING (5:4), 2011. METAL, OAK, 1 1 3 MECHANICAL SYSTEM, LIGHT; 236 ⁄4 X 236 ⁄4 X 39 ⁄8 IN. CON

Conrad Shawcross ha residencies, awards a Ada Project, an ongoi commissions betwee contemporary compo the Palais de Tokyo, P travelled to venues in and Denmark. Shawc contemporary artists inspired by Titian's m Metamorphosis: Titia collaboration with th Ballet for the Cultura Residence at the Scie 2009 to 2011. His fir Trumpet, was installe refurbished Unilever won the Art & Work 2 awarded the Illy prize Art Brussels. The arti in 1996 at Chelsea M with Honors in 1999 a Oxford; and a MFA in University College, Lo

WORKS IN THE E

Dappled Light of the Wind), 2018 Weathering steel 3 1 1 39 ⁄8 x 59 ⁄8 x 59 ⁄8 in.

Paradigm — B (Solid), Weathering steel 7 3 3 55 ⁄8 x 18 ⁄4 x 18 ⁄4 in.

Slow Arc X, 2018 Powder-coated steel, 1 1 3 94 ⁄2 x 51 ⁄8 x 37 ⁄8 in.

WA MATRIX 179 Brochure.qxp_WA MATRIX 179 Brochure 6/6/18 11:24 PM Page 11

Born in 1955, New Yo Lives and works in Br CONRADSHAWCROSS and Norfolk, CT

Conrad Shawcross has undertaken numerous Shawcross has had solo exhibitions at institutions ARTIST GALLERY residencies, awards and commissions including The including the New Art Centre, Roche Court (2015); Ada Project, an ongoing series of musical ARTMIA Foundation, Beijing (2014); MUDAM, Conrad Shawcross commissions between Shawcross and leading Luxembourg (2012); Science Museum, London Thursday, June 21 contemporary composers, which was conceived for (2011 2012); Turner Contemporary, Margate 6 pm the Palais de Tokyo, Paris (2013) and has since (2011);‒ and Oxford Science Park (2010). His work travelled to venues in Tasmania, London, Hong Kong has recently been exhibited nationally and and Denmark. Shawcross was one of three internationally as part of the Summer Exhibition CURATOR GALLE contemporary artists invited to create works 2017, Royal Academy of Arts, London (2017); Socle inspired by Titian's masterpieces for the project du Monde Biennale 2017, HEART Herning Museum of Patricia Hickson, Emi Metamorphosis: Titian 2012, an ambitious Contemporary Art, Denmark (2017); Into the Contemporary Art collaboration with the National Gallery and Royal Unknown: A Journey Through Science Fiction, Friday, August 3 Ballet for the Cultural Olympiad. He was Artist in Barbican, London (2017); The Universe and Art, Mori Noon Residence at the Science Museum, London, from Art Museum, Tokyo (2016 2017], which travelled Free with museum ad 2009 to 2011. His first public commission, Space to ArtScience Museum, Singapore‒ (2017); GLOBALE: Trumpet, was installed in the atrium of the Exo-Evolution, ZKM | Center for Art and Media refurbished Unilever Building in London in 2007 and Karlsruhe (2015 2016); Art Out Loud, Chatsworth won the Art & Work 2008 Award. In 2009 he was House, Derbyshire‒ (2015); Proportio, Palazzo awarded the Illy prize for best solo presentation at Fortuny, Venice (2015); Summer Exhibition 2014, Art Brussels. The artist earned a foundation degree Royal Academy, London (2014); Light Show, in 1996 at Chelsea Museum of Art, London; a BFA Hayward Gallery, London (2013), which travelled to with Honors in 1999 at the Ruskin School of Art, Auckland Art Gallery (2014 2015), MCA Sydney Oxford; and a MFA in 2001 at Slade School of Art, (2015), Sharjah Art Foundation‒ (2015) and Benaki University College, London. Museum, Athens (2016); the 55th Venice Biennale (2013); and Journeys: Conrad Shawcross and Tavares Strachan, Museum of Art, Rhode Island School of Design (2011). MATRIX 179 is Shawcross’s first solo museum exhibition in the United States of America.

WORKS IN THE EXHIBITION

Dappled Light of the Sun (Study IV — Prevailing Study for The Optic Cloak, 2017 Wind), 2018 Aluminum and steel 1 1 Weathering steel 40 x 16 ⁄8 x 16 ⁄8 in. 3 1 1 39 ⁄8 x 59 ⁄8 x 59 ⁄8 in. Harmonic Manifold 1 (5:4), 2011 Paradigm — B (Solid), 2018 Patinated bronze 5 3 3 Weathering steel 88 ⁄8 x 35 ⁄8 x 35 ⁄8 in. 7 3 3 55 ⁄8 x 18 ⁄4 x 18 ⁄4 in. A Picture of a Chord Falling into Silence (Major Sixth Slow Arc X, 2018 5:3, Speeds 0, 2, 5, 8, 10), 2009 Powder-coated steel, light, and mechanical system Set of five ink on paper drawings 1 1 3 3 94 ⁄2 x 51 ⁄8 x 37 ⁄8 in. 10 ⁄4 x 33 in. each

All works and images courtesy the artist and Victoria Miro, London/Venice © Conrad Shawcross

1 Julian Richards, “Review: Th WA MATRIX 179 Brochure.qxp_WA MATRIX 179 Brochure 6/6/18 11:24 PM Page 12

Born in 1955, New York, NY Lives and works in Brooklyn, NY; New Haven, CT; ROSS and Norfolk, CT

ions at institutions ARTIST GALLERY TALK oche Court (2015); 14); MUDAM, Conrad Shawcross useum, London Thursday, June 21 orary, Margate 6 pm 600 Main Street k (2010). His work Hartford, Connecticut 06103 ionally and (860) 278-2670 ummer Exhibition CURATOR GALLERY TALK ondon (2017); Socle thewadsworth.org T Herning Museum of Patricia Hickson, Emily Hall Tremaine Curator of 017); Into the Contemporary Art ience Fiction, Friday, August 3 The MATRIX program is generously supported by the Wadsworth Atheneum’s Contemporary Coalition. niverse and Art, Mori Noon 7], which travelled Free with museum admission Sustaining support for the Wadsworth Atheneum provided ore (2017); GLOBALE: by Newman’s Own Foundation and the Greater Hartford Art and Media Arts Council’s United Arts Campaign. t Loud, Chatsworth ortio, Palazzo r Exhibition 2014, Light Show, ), which travelled to 15), MCA Sydney (2015) and Benaki th Venice Biennale hawcross and rt, Rhode Island X 179 is exhibition in the

1

Silence (Major Sixth 9 gs

the artist and Conrad Shawcross

1 Julian Richards, “Review: The Optic Cloak. Meet the chimney that isn’t there,” New Scientist, 21 September 2016.