Tag Archives: sculpture

It looked like a reflection but that was an illusion

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WHEN WALKING ALONG the north side of London’s Euston Road between Albany Street and Hampstead Road, I passed a metal sculpture of a man, life-size, looking into the ground floor plate glass window of a newish building, part of the Regents Place development.

At first sight, it looked as if the sculpture was being reflected by the glass. As I thought that the sculpture looked like the kind of thing created by the British sculptor Antony Gormley, I took a closer look, and saw a plate embedded on the floor next to the artwork. It read:

“Antony Gormley Reflection 2001 cast iron”.

Then, looking carefully, I realised that what I thought was a reflection was in fact a replica of the sculpture outside on the other side of the window, in the building. And as I looked at this interesting idea, I noticed that the two sculptures differed in colour, otherwise they were mirror images of each other. Simple though the sculptures are, the idea that a reflection need not be a reflection struck me as intriguing.

Architecture as art at a gallery in Bombay

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OUR FRIEND GEETHA Mehra has her art gallery on 2nd Pasta Lane, near Colaba Causeway in Bombay. On one of our visits in November 2025, she had organised an exhibition, “Behind the Façade”, which consisted of works by the contemporary artist Teja Gavankar. The artefacts on display were almost architectural, some using brickwork and others containing other materials, As the gallery’s website explained:

“Gavankar is interested in dual states, in forms that appear rigid, where solidity gives way to softness and movement. A dialogue between natural and built environments unfolds, stemming from the artist’s experience of living in Mumbai’s suburbs. Gavankar observes the contours of the city during her commute, seeing organic forms emerge in its industrial undertones.”

Whereas architects make structures which are functional, Gavanka created architectural structures that were artworks designed to challenge the viewers perceptions of space. Seeing the brickwork sculptures and the patterned brick façade she designed for the gallery reminded me of the brick workshop we saw in progress at the Chitrakala Parishad in Bangalore a few days earlier (see: https://adam-yamey-writes.com/2025/11/20/bricks-and-design-at-an-art-school-in-bangalore-bengaluru/).

By Moore it moved from Chelsea to near Tate Britain

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RECENTLY I NOTICED a sculpture close to Tate Britain but not within it.

When the Chelsea School of Art – now the Chelsea College of Art and Design – moved from Chelsea to Millbank next to Tate Britain, so did this sculpture by Henry Moore (1898-1986). Called “Two Piece Reclining Figure No 1” and created in 1959, this was originally placed in the Chelsea campus of the art school, where for a time in the 1930s Moore was Head of Sculpture. When the college relocated to Millbank, the Sculpture moved with it.

Masks of transgender faces and an artwork in London’s Trafalgar Square

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THERE ARE FOUR stone plinths on London’s Trafalgar Square. Three of them bear statues of noteworthy men of the past. The fourth plinth, which is at the northwest corner of the square, was destined to carry a statue of King William IV, but it was never placed there. For many years, the fourth plinth remained unused, but from 1999 onwards it became used to display works of art. Works are commissioned for the plinth, and remain displayed on it for, typically, a year or two. This year’s artwork, “Mil Veces un Instante” (‘A Thousand Times in an Instant’) is by the Mexican artist Teresa Margolles (born 1963).

At first sight, the sculpture looks like a rectangular box-like framework covered with white ovoid shells, rather like halves of easter eggs. On closer examination, these shapes look like the internal surfaces of moulds taken from faces. Indeed, that is what they are. As an article on Wikipedia explained:

“Casts of the faces of 850 trans people from London and around the world. The ‘life masks’ are arranged around the plinth in the form of a tzompantli, a skull rack from Mesoamerican”.

And a notice by the plinth informed the viewer that:

“The casts have been created by applying plaster directly onto the faces of participants, meaning that as well as recording their features the plaster is infused with their hair and skin cells … The material is important to the work, it is fragile and will deteriorate (although not disintegrate) over time. The fragility of the material is a reflection community, both fragile and strong. The material also has a tendency to pick up other materials into the work. The material retains traces of the participants such as eyelashes, eyebrows, skin cells, makeup etc, they are present in the work.”

Well, what was the artist trying to tell the viewer? On 22 December 2016, Karla, a trans-gender woman, was found murdered in a Mexican city. According to the information panel, the work on the plinth is both a memorial to Karla and an object to raise awareness of the violence and abuse faced by so many transgender and other gender non-conforming people around the world.

Unlike some of its predecessors on the fourth plinth, Margolles’s work, is not particularly visually striking. Its strength lies in the concept that led to its creation. It expresses a message, but it is not one that is at all obvious to the casual passer-by. If one does not read the information panel, this work would make little or no impression on those who happen to notice it. I hope that the next piece to occupy the plinth will be more eye-catching, even though the present one is full of good intention.

Fascinating artworks at a gallery in Cambridge

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ARTSPACE 5-7 IS A small gallery housed in a pre-WW2 Modernist building in Portugal Place, a side street that leads away from Bridge Street in the university town of Cambridge. We visited the gallery in August 2025, and viewed a collection of sculptures and drawings by the London born artist Richard Bray (born 1955). A few years after being awarded a degree in Photographic Arts at the Central London Polytechnic, he was awarded a degree in Fine Art at Norwich School of Art and Design. His exhibition at Cambridge is called “Visible Invisible”.

Whereas kinetic art depends on its movement for effect, Bray’s finely crafted sculptures and prints are static. However, as the viewer moves around his artworks, viewing them from different perspectives, what can be seen changes. Bray’s works seem to acquire internal movement that can only be perceived when the viewer moves past or around them. These effects, which add great beauty to his works, cannot be captured using still photography. Three of the sculptures were on display in the churchyard of St Clements opposite the gallery

Bray spent time in Tanzania during the 1980s. What he must have seen in the way of local design and crafts has clearly influenced the appearance of the works we saw in Cambridge. In fact, when I first entered the exhibition, I saw what I mistakenly thought was a collection of sculptures from Africa.

The gallery because of its Modernist design is worth seeking out when you visit Cambridge. The exhibition of Bray’s works, about which we knew nothing in advance, were refreshingly exciting to see.

A bird of the sea on wheels  in Folkestone

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THE MOBILE GULL APPRECIATION UNIT was created by Mark Dion in 2008 for the 2008 Creative Folkestone Triennial. On wheels, this enormous model of a seagull can be towed to different locations. The seagull can be entered and is used by people trying to persuade viewers to understand and appreciate gulls, which are often regarded as pests. Personally, I have nothing against these creatures.

Folkestone in Kent has become a town filled with art works. Every 3 years it hold an art festival, the Folkestone Triennale. This year it began two days ago. This is one of the permanent works.

Stark naked and crouching on a pedestal in London’s Mayfair

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MY PARENTS HAD a small collection of works of modern art in our home in London’s Hampstead Garden Suburb. These included an engraving by the Italian artist Emilio Greco (1913-1995). I have no idea where this image is now, but having grown up with it I was familiar with the artist’s name even if I knew nothing about him.

Today (14 July 2025) while walking near the Connaught Hotel in Mayfair, we passed a modern fountain, and close to it, a bronze sculpture of a naked woman, perched on a cylindrical stone pedestal. On the pedestal are carved the words: “A gift to the City of Westminster from the President of the Italian Republic. 20th November 1987. Sponsored by the Italian Bank in London.” The President at that time was Francesco Cossiga (1928-2010).  There was no mention of the creator of this artwork on the pedestal. However, at the base of the sculpture I could make out: “Emilio Greco 1977”. It had been made by the artist, whose engraving used to hang on the wall of our living room.

A website (https://pssauk.org/public-sculpture-of-britain/biography/greco-emilio/) provides some information about the artist, and his sculpture in Mayfair, which is a bronze casting of his sculpture “Crouching Figure No. 4”, created in 1973.  

The sculpture is a great addition to the area, and is sometimes referred to as ‘Mayfair Lady’!

Sculptures hidden by the mist in Bangalore

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When we arrived in Bangalore in November 2025, our friend Harsh, an architect and curator who is based in Ahmedabad, sent us a message about his exhibition in Bangalore at a gallery, of whose existence we had been hitherto unaware. The privately owned gallery is called KAASH. It is housed in a beautifully restored old-style bungalow such as were built (mostly) between the 1860s and 1930s. They are a colonial ‘take’ on English country cottages. The gallery’s bungalow at number 2 Berlie Street is complete with perfect examples of ‘monkey tops’ (screens of closely spaced vertical wooden slats placed over porches and windows).  

The exhibition that Harsh had curated at KAASH was a collection of contemporarily designed devotional objects, mainly diyas (oil lamps used on Hindu ceremonies). There were also some almost abstract depictions of Devi created by Jayshree Poddar, and a few items of folk art from various countries in Africa. The artworks were tastefully displayed in rooms within the bungalow.

In the garden surrounding the building, we saw several sculptures. As the sun set, a worker moved around the garden spraying a fumigating smoke that created an eery mist. The sculptures were temporarily partially hidden, becoming rather like peaks partially concealed by low clouds. Gradually, they reappeared as the insecticidal smoke dispersed. Having seen the KAASH gallery, we decided that it would become a place we visit whenever we happen to be in Bangalore.