Richard Deacon (1978-9) It's Orpheus When There's Singing #7 [Pastel and pencil on paper] © Richard Deacon
Richard Deacon is in demand at the moment (quite normal if you’re in an exhibition at the Tate). Not only is Deacon in a major exhibition and retrospective of work at Tate Britain – but he has also curated an exhibition at the Drawing Room entitled Abstract Drawing.
Deacon’s manipulation of materials and matter are morphed across the six rooms of exhibition space. Scaling the white walls the lyrical and poetic forms lay strewn across the floor and lure the eye around the space.
There seems an inherent comfort in formulas and rule driven mathematics which guide hollowed forms such as After, 1998. The metaphorical meaning in materials moulded and undulating into and out of negative and positive space follows a path of information catching space as it moves yet remains stationary.
Deacon configures shapes using information as a means of production the process is very much embedded in traditional approaches such as carving, casting, moulding, welding etc. The fabricated forms engage in a sense of synergy interlocking in materials moulded around each other in an engineered dialogue.
A contradictory conversation within forms is created within pieces such as Art For Other People No.12, 1984. The marble and leather create this absurd combination, it is as though the marble is manipulated by the malleable leather that sits squashed under the laboured weight of the marble.
The exhibition runs until the 27th April, 2014.
Richard Deacon (1984) Art for Other People No 12 [Marble and leather] © Richard Deacon
Richard Deacon (1998) After [Wood, stainless steel, aluminium and resin] © Richard Deacon