Over the
past 40 years sculpture has been the most potent area of visual arts
practice in the UK and yet few people have been able to
afford and house work by the most influential sculptors.
In a period when anything hung on a wall must be instantly
afforded the status of painting, when we are confronted by «paintings» that have been made without any recourse to paint whatsoever, created with printers and scanners, or with the assistance of nature, bleached by the sun, stained by the rain, a pretense of process art to painting en plein air, and very late in the day, an engaged
practice of painting, rather than dismissed as a thing of the
past, is ever more present.