WHAT ISN'T HERE CAN'T HURT YOU I FRANCES RICHARDSON AND ALISON WILDING
2019 Royal Society of Sculptors, Dora House, 108 Old Brompton Road, London SW7 3RA
The show is a dialogue between Wilding and Leeds-born Frances Richardson who is showing Because the two parts don’t quite touch (2019)—a looped structure surrounded by a pair of boulders—among other works. Asked if her works dovetail with Wilding's, she says: "I’m not sure that I consider the works to be in a 'dovetail' relationship. Perhaps I'm thinking too visually about the metaphor but the expression implies an expectation is for things to fit neatly into one another. I'm not sure that they do. Logical relationships—'making sense'—is perhaps something that we both instinctually resist within our practices, so why impose it on an exhibition?"
But there are links. "A connection I feel that the work has is that the materials are very present, edges, surfaces, mass, volume, space, light, shadows. Also, I think the encounter is something that both Alison and I are sensitive to," Richardson adds.
Correx / screws / terracotta / graphite / wood stain, H. 63cm L. approx 500cm
Because the two parts don’t quite touch, 2019
Correx / screws / terracotta / graphite / wood stain, H. 63cm L. approx 500cm
Because the two parts don’t quite touch, 2019
detail
from left to right
The Adoration IV Morphine Assisted Suicide, 2010, pencil / ink on paper The Adoration II, 2010, pencil / ink on paper The Adoration V, 2010, pencil / ink on paper
Alison Wilding: from left to right
Simian Drawing XI, 2016 collage / ink on paper Simian Drawing III, 2016 collage / ink on paper Simian Drawing IX, 2016, collage / ink on paper
Alison Wilding
Inversion, 2000, native oak / copper Arts Council Collection, Southbank Centre, London