David Begbie Sculpture Catalogue

D AV I D
BEGBIE
D AV I D
BEGBIE
ALBEMARLE
“Sculpture, we usually say without examining our proposition too closely, is of course a tactile art. We are most
likely regretting the present-day hands-off policy of the great public art collections, however responsible in terms of
conversation it may be, because after all you can obtain a much more intimate knowledge of a sculptor’s intentions,
interests and achievements if you can actually run your hand over that curve and into the declivity, savour through your
sense of touch the texture of stone or wood or metal. Which is true as far as it goes. But with David Begbie it does
not go very far.
There is no doubt that Begbie is a sculptor. What else can you call someone who produces three-dimensional work
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with other sculptors. He may make us think of Medardo Rosso, who sought to capture similarly evanescent effects
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insubstantiality, are in fact amazingly sturdy. Or of Rodin for his passionate interest in the musculature of the human
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that it is made of wire mesh. More complicatedly, that most of its visual effect is illusion. He is indeed, like Rodin,
fascinated by the way that light falls on the human body, but he never reproduces the effect; he re-creates it in a highly
illusionistic way. He is always playing with the intricate relationship between the eye and the mind, which enables us,
forces us even, to see things which are not there, to place things in an imaginary space which corresponds to the real
space before our eyes very little, if at all. Because of the very delicate and subtle fashion in which the mesh is moulded
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angles, the mesh takes on different visual densities, depending on the angle at which we see it, or whether we see it,
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John Russell Taylor, Critic and Author
“As he is a splendid sculptural draughtsman, the shape is exquisitely outlined. It has the rightness and the adjustment
to observation, which in their absence we always miss in visual art. The steel mesh that makes these bodies also
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harsh yet silky, both at once. David Begbie weaves for imperial nakedness an optical garment, which is more illusory
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Sir Lawrence Gowing, Artist and Writer
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is arguably the most beautiful sculpture ever made. Or, perhaps nearer to our own time one thinks of Rodin’s powerfully
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the human body, a part which speaks eloquently for the whole. The foregoing examples are of the human body carved
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Mary Rose Beaumont, Art Historian and Critic
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produce the illusion of rippling musculature. He makes it seem as sensitive and pliable as wax. But the mesh provides a
whole range of other effects as well - the sculptures become translucent - they are simultaneously there and not there.
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are used to ‘draw’ with, so that the spatial interaction becomes more complex. Every time the viewer shifts position, a
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Edward Lucie-Smith, Art Historian, Critic and Author
“David Begbie is a sculptor, draughtsman and printmaker whose materials
and media are unusual but whose preoccupation – the human condition
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France, are of living creatures, animals in the main; even older however, are
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in ivory both from Central Europe. The survivors - (and characteristically
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with the art of the hunters, rather than with the more settled art of the
farmers appearing substantially later. The famous dictum of Pope’s turns
out to have been shared throughout the millennia, even if man and woman
were dressed up or rather down, in the sense of being naked and observed
– as a deity.
In the face of all creeds and isms, the most persistent motif – man is the
measure of all things – characterises the formulation of imagery for all of
human history. (Abstraction is bold, because it emphasises human absence
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David Begbie’s human and humane art does demonstrate in contemporary
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as itself, and as a way of saying all kinds of things about art – and life –
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enormous variety of material in the revolutionary formulations for sculpture
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bastion. David Begbie does not, it seems to me, use the novelty of steel
mesh and now copper, simply for its own sake. Rather, it is an extension
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drawing in space with his welded metal sculpture. Their technical insights
and expansions of possibilities were and are quarried by artists who have
tended to abandon overt representation for a more oblique view of the
world around us, relying more on an inner vision, a sense of constructing
from within.
I do not believe that David Begbie’s seemingly accurate (although they
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created without the liberty afforded to artists by photography and its
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by abstraction.
Effective art must be of its time, as well as containing within it some
understanding of tradition and the past. David Begbie’s art is exhilarating
and fascinating precisely because he deals directly with a subject that
could not be more ancient and traditional, but does so in ways that are only
possible now. He uses traditional and invented techniques. He uses the
human form, but his art mediates it into a series of works, highly individual,
that communicate a recognisable, emotionally authentic and affecting
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Marina Vaizey, Art Critic
1 Icon I
156 x 44 x 36 cm
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65 x 21 x 13 cm
5L\K00
64 x 21 x 13 cm
4 Iconis
93 x 55 x 18 cm
5 Luuda
51 x 36 x 13 cm
6 Prima
50 x 17 x 13 cm
7 Prima
51 x 17 x 13 cm
8 Icon
93 x 26 x 20 cm
9 Iconic
94 x 42 x 20 cm
10 Iconi
95 x 55 x 20 cm
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76 x 37 x 18 cm
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12 Palm
122 x 122 x 20 cm
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13 Fnud
51 x 16 x 13 cm
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51 x 16 x 13 cm
15 Bnud
51 x 16 x 13 cm
16 Omo
92 x 55 x 18 cm
17 Unuud
93 x 107 x 20 cm
18 Venii I
65 x 46 cm
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19 Venis III
65 x 36 cm
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20 Venus II
65 x 36 cm
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21 Luna
97 x 106 x 20 cm
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DAVID BEGBIE
1955
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Born Edinburgh, Scotland | 1975 Winchester School of Art, England
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Selected Solo Exhibitions
(YJOL[`WLZ¹4VVYOV\ZL3VUKVUc¸:RPUKLLW¹6KL[V(Y[:PUNHWVYLc=HU3VVULU:PTVUZ=\NO[5L[OLYlands| Australian Galleries, Sydney | Different, London
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Simons, Vught, Holland
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Gallery Different at Queens Elm Gallery, Chelsea, London including Rythmic Ties Concert
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2007 Gallerie Il Ponte Contemporanea, Rome | Gallery Different, London | Galerie Van Loon en Simmons |
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2004 Gallery Different, London | Hotel Linde, Mariaworth Austria | Herman Miller Event, International Art Consultants
2003 Gallery Different, London | Camino Real Gallery, Boca Raton, Florida | Magidson Fine Art, Aspen, Colorado |
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Gallery, Birmingham, England |
Spectrum, International Art Consultants London | Festival Gallery, Henley Festival, England
2002 Gallery Different, London | Plus One Plus Two Galleries, London | Online - Platform for Art, Gloucester Road,
London |
Buschlen Mowatt Galleries, Vancouver, Canada | Galerie Bernd Duerr, Munich Germany
2001 Gallery Different, London
2000 Gallery Differentiate, London
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building
1998 Begbie Selected Retrospective, Early Work 1983-1991 and Recent Work 1998, Gallery Differentiate, London
1997 Gallery Differentiate, London | The Festival of Erotica, Olympia
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1995 Gallery Differentiate, London | Magidson Fine Art, Aspen, Colorado, USA | Posner Fine Art, Santa Monica,
California, USA
1994 Gallery Differentiate, London | Fire Station Gallery, Sydney, Australia (Opened by Terence Meecham - Director of
the Powerhouse Museum,
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Gallery, Miami, Florida, USA
1993 Gallery Different | Catto Gallery, London
1992 Gallery Different
1991 Salama-Caro Gallery, Cork Street, London
1990 Wates City Tower, London | Salama-Caro Gallery, Cork Street, London
1989 Salama-Caro Gallery, Cork Street, London
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Simpsons of Piccadilly of London - Special Collaborative One Man Exhibition
Selected Group Exhibitions
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Galleries, Sydney and Melbourne, Australia | Gallery Vecchiato, Padova and Milan Italy | Ana Mercader Gallery,
Almeria | Galerie Mada Primavesi, Madrid, Spain | Ode to Art, Singapore | The Hooke Sculpture Gallery, Sag
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Simons
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Woolff Gallery, London | AFO, Docklands, London | Byard Fine Art, Cambridge | Australian Galleries, Sydney and
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Mada Primavesi, Madrid, Spain
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Loon en Simons | Toronto International Art Fair, Woolff Gallery
Selected Museum Collections and Permanent Public Installations
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