Henry Moore project conclusions

 

Henry Moore project

 

This has been quite a journey within multiple arenas.

(see captions on above images)

I undertook this work when the Henry Moore Foundation were almost

inaccessible apart from the very considerable on-line record of his work. When I

was initially planning this study I found that I was directed to the online record

rather than any dialogue, obviously useful and an extensive and wonderful

record but in my view no substitute for actually interacting with the original as I had at both the British museum and Kew gardens.

What have I learnt? Where has this led me? What areas would I wish to pursue?

 Moore’s inheritance as the son of a Derbyshire /Yorkshire miner and

mining drawings, through visit to British museum and visit to Radstock

museum which documents Somerset coal mining.

 As I viewed the drawings of Henry Moore I viewed a few of the many

sculpture plans for his Reclining Woman series both in the Tate and the

Bronze at Kew Gardens, and how various members of the public

interacted with this work. Clare Woods’ initial suggestion that I consider

the drawings of Henry Moore was a response to my drawings of the body.

 My own first experience of sculpture, engaging with stone.

Comments on Marketing and Promotional Issues

This is complex

Iin the process of the project I became aware via hearsay of at least 2 pieces of his work that were on permanent loan at the direction of Moore himself but had been recalled by  the foundation

1.from a public place i.e. Leicester University

2. a rumor of a recall from a grandson, where the statue had been a gift from Moore.

 

Henry Moore is one of the most recognised British sculptor in the pre and post war period, and his sculptures present in very many public places.  This is complex the Henry Moore Foundation holds very many of his works, loans many for public display is clearly a powerful.

The Henry Moore institute in Leeds from my visit earlier in the year prior to the project is profoundly engaged  with contemporary sculpture in all  forms.   Holding series of exhibitions of established and up and coming practitioners.

The various institutions I came across in my survey rescued various approaches to marketing, Radstock museum is a complete gem of local history close to Bath about very different mining communities that operated in villages between Bath and Bristol for 250 years.

LearningStone and Tout quarry, their reputation is their main promotion for teaching stone carving including some university use, with a dialogue with landscape professionals, geologists, including the British Antarctic project, an internet presence facilitates this. I shall keep in contact with Learning Stone on an ongoing basis

Personal impact

The interaction with Moore objects and drawings and the issues related that emerged for me,  has had me profoundly engaged, and doubtless my work effected greatly. My interaction so far with other contemporary sculpture has been limited as the personal process of engaging with my stone took over. I am in the midst of assessing where I am with my work in this and am going to return to Learningstone for discussion..more anon.

Footnote

I chose this personal study which has involved engagement with web resources, individuals and organisations within local and national history, Radstock museum, Tout quarry, Portland, some of Moore’s drawings, my response to them, a bronze, and of course a stone. Personal resonance is probably greater with Barbara Hepworth but most of her work is less figurative.

The choice of Henry Moore was linked to Figurative work that had been abstracted, and the reference Clare Woods made between my work and his drawings there are many more places to go as I move away from this study.

 

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