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In March this 12 months, we went to Finsbury Park in London to the house of Phyllida Barlow to interview her for the A brush with… podcast. Tragically, Phyllida died only a few days later. So this dialog is a tribute to some of the important British artists of current years.
Phyllida Barlow’s untitled: dock: emptystaircasehoarding (2014) © Phyllida Barlow, courtesy the artist
Ardently dedicated to sculpture and satisfied of its particular energy, she was coruscatingly erudite and perceptive, but additionally irreverent and suspicious of orthodoxies. This was evident in her mixtures of easy supplies equivalent to wooden, plaster and scrim, cement, paint and cloth in extraordinary sculptures and installations. She managed to realize without delay awkwardness and charm, humour and pathos, the grand and the intimate.
Phyllida Barlow’s untitled: hangingmonument (2015) © Phyllida Barlow, courtesy of the artist
Amongst a lot else, Phyllida discusses the morality imposed on sculpture in her artwork college days, the underacknowledged “soiled aspect of constructing” in Marcel Duchamp’s work, her admiration for Louise Nevelson and Eduardo Chillida, the writing of Fyodor Dostoevsky and the movies of Robert Bresson. Plus she solutions our normal questions, together with a shifting response to the last word query, “What’s artwork for?”
Phyllida Barlow in 1978 © Phyllida Barlow
• Phyllida Barlow, Chillida Leku, Hernani, close to San Sebastian, Spain, till 22 October
• The Museum of Up to date Artwork (MOCA), Toronto, 8 September-4 February 2024
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