«The Journey» consists of three
fabric sculptures shaped as different kinds of shells or mollusks.
Not exact matches
Recent solo and major notable museum exhibitions include; «Enlightened Princesses; Caroline, Augusta, Charlotte and the
Shaping of the Modern World», Yale Center for British Art, New Haven, Connecticut, USA tours to Kensington Palace, London, UK (2016 - 2017); «Paradise Beyond» Gemeentemuseum Helmond, Netherlands (2016); «Recreating the Pastoral», VISUAL Centre for Contemporary Art, Carlow, Ireland (2016); «End of Empire», Turner Contemporary, Margate, England (2016); «Wilderness into a Garden», Daegu Art Museum, Daegu, Korea (2015); «Pièces de Résistance», DHC / ART Foundation for Contemporary Art, Montréal, Québec (2015); «Cannonball Paradise», Herbert - Gerisch - Stiftung, Neumünster, Germany (2014); «Yinka Shonibare MBE: Egg Fight», Fondation Blachère, Apt, France (2014); «Yinka Shonibare MBE: Magic Ladders», The Barnes Foundation, Philadelphia, Pennsylvania, USA (2014); «Selected Works», Gdansk City Art Gallery, Gdansk, Poland; travelled to Wroclaw Contemporary Museum, Wroclaw, Poland; «Selected Works», «Yinka Shonibare MBE», Royal Museums Greenwich, London, England (2013); «
FABRIC - ATION», Yorkshire
Sculpture Park, Wakefield, UK; travelled to GL Strand, Copenhagen, Denmark (2013 - 2014); «FOCUS: Yinka Shonibare, MBE», Modern Art Museum of Fort Worth, Texas, USA (2013); «Imagined as the Truth», San Diego Art Museum, San Diego, USA (2012); «Human Culture: Earth, Wind, Fire and Water», Israel Museum, Jerusalem (2011 - 2010); «Looking Up», MBE, Nouveau Musée National de Monaco, Monaco (2010) and «El Futuro del Pasado», Alcalá 31 Centros de Arte, Madrid, Spain, then toured to Centro de Arte Moderno, Las Palmas de Gran Canaria, Spain (2011).
With the interconnected
fabric mats
shaped to evoke biological cells or chemical flasks, each of these
sculptures assumes a vital role in some form of organic circuit that flows through a portal - like
shape mounted against the wall and framed with head - like ovoids, elongated staffs and open circles.
The 23 - foot
sculpture in the
shape of an untethered sail in the wind is made from fiberglass, painted in a bright pattern of the
fabric that features so prominently in his work.
Teke, Democratic Republic of Congo Male Reliquary Figure, by the Master of the Wedge -
Shaped Beard, 19th century or older
Sculpture - Wood, pigments, woven canvas /
fabric, «magic charge / «bilongo», patina (base by Kichizô Inagaki (11 Apr. 1876 - May 5 1951) 49 x 11 x 10,5 cm (19.29 x 4.33 x 41.34 in)
Poppy red, marigold orange and, if visitors look closely enough, midnight blue
fabrics have been
shaped, draped and suspended as an enormous
sculpture in the latest commission for the Turbine Hall ay Tate Modern in London.
McCollum has used the system in collaborations with a community library, schoolchildren, home craftworkers, writers, architects, and other artists, as the
Shapes are created to be used for many different kinds of projects, and so far have been produced in the form of both prints and
sculpture, in Plexiglas, Corian, plywood, hardwoods, metals, rubber, and
fabric, in a variety of sizes.
Critics picked up on shared concerns with soft
sculpture, and Paul Overy pointed out that Flanagan's work was intriguing in that it looked soft, but in fact, was hard.1 The exhibition included anthropomorphically
shaped sculpture made from plaster filled
fabric bags, pieces hanging from the ceiling, and a pile of sand poured directly onto the carpeted floor.