RA Summer Exhibition
We are delighted that Jacob van der Beugel, Laura Ford, Allen Jones and Michael Craig-Martin, among other artists exhibiting at Roche Court, have been included in the Royal Academy Summer Exhibition, 2024.
This weekend, come and see their work at Roche Court Sculpture Park. The Sculpture Park and galleries are open everyday, from 11am-4pm.
Jacob van der Beugel
Jacob van der Beugel
Cut and Paste 2, 2023
Ceramics, wooden frame
120 x 130 x 5 cm
3ft 9¼ x 4ft 2⅛ x 2 in.
Jacob van der Beugel's ceramic wall panels and sculpture explore the language of scientific data. By using clay and concrete to represent genomic sequences, he bridges the divide between information and the physical world.
Laura Ford
Laura Ford
Waldegrave Poodles, 2015
Patinated bronze
68 x 33 x 75 cm (each poodle)
2ft 2 x 1ft ⁹⁄₁₀ x 2ft 5 in.
Cast 1 of 6 + 2 APs
Laura Ford creates imaginative and fantastical figures - often in bronze - that are simultaneously endearing and uncanny. Made for Ford's 2015 solo exhibition at Strawberry Hill, the Waldegrave Poodles draw directly upon Sir Joshua Reynolds' 1780 portrait 'The Ladies Waldegrave', commissioned by Horace Walpole. Ford transforms the three young women into "pampered dogs ready to be paraded and judged at Crufts". The Waldegrave Poodles explore the artist's concerns around gender and power, visibility and invisibility.
Allen Jones RA
Allen Jones
Blue Sprawl , 2016
Aluminium
155 x 275 x 175 cm
61 x 108 ¼ x 68 ⅞ in.
Allen Jones (b.1937) is internationally recognised as a pioneer of the Pop Art movement during the 1960s. Jones' sculpture has evolved to portray expressive and stylised compositions involving figures in movement and performance. Blue Sprawl is a continuation of these dynamic, figurative forms for which he is best known.
Michael Craig-Martin CBE RA
Michael Craig-Martin
Fountain Pen (turquoise), 2019
Powder-coated steel
400 x 42 x 2 cm
157 ½ x 16 ½ x ¾ in.
Edition 1 of 3 plus 1 AP
Michael Craig-Martin (b.1941) established his position as a leading conceptual artist early in his career, when incorporating readymade objects within his sculpture in the 1970s. In the 1990s, he made a decisive move towards painting and developed his characteristic style that now also influences his sculpture, using precise lines to define objects in flat planes. Craig-Martin is concerned with the nature of representation within art and the role of the spectator, exploring this through the rendering of everyday objects, from spades to lightbulbs and stilettos, at a monumental scale.