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Artist: George Kennethson

Title: Rock and Wave Shape

Year: 1950

Dimension: 53 x 19 x 18 cm

Technique: Alabaster

Price: TBC

About the Artist

British artist was born in Richmond upon Thames in 1910.

1927 Studied at St John’s Wood School of Art.

1929-1932 Studied at the Royal Academy Painting Schools

1936 Turned to Sculpture

Selected Solo Exhibitions

1968 Fermoy Art Gallery, King’s Lynn, Norfolk

1969 Somerville College, Cambridge

1972 Kettle’s Yard, Cambridge, ‘George Kennethson: Sculpture and Drawings 1952-72’

1974 University of Birmingham, ‘A Retrospective Exhibition: Sculptures and Drawings by Geroge Kennethson’

1975 Kettle’s Yard, Cambridge, ‘George Kennethson: Sculpture’

1993 The New Art Centre, Roche Court, Wiltshire,‘George Kennethson: Retrospective’

2000 Wilson Stephens Fine Art, London, ‘George Kennethson: 1910-1994’

2004 Wilsons Stephens Fine Art in association with Archeus Fine Art, London, ‘George Kennethson: A Modernist Rediscovered’

Selected group exhibitions

1947 Arts Council touring exhibition, ‘Sculpture in the Home’

1986 Peterborough Museum and Art Gallery, ‘Translations from Life and Nature: Stone Carvings 1950-85’

1988 The New Art Centre, London

2012-13 The Fine Art Society, London. “Carving in Britain from 1910 to Now”

Selected Collections

_TheScottish National Gallery of Mondern Art, Edinburgh

_Kettle’s Yard, Cambridge

What does “Rock and Wave Shape “ say?

What Cubism and abstractionism did to the development of art cannot be measured with enough precision as their influence have been strong not just in the few years after their appearance but in the ones to come after that, specially the 50’s and 60’s, including our complex XXI Century.

The “geometrisation” of our reality was seen as a method to extract characteristics of our surroundings which otherwise may be lost in the seamless blanket of our cotidianity.

This effort was applied to the interpretation of humans, animals, plants, emotions etc.

When I saw “rock and wave” I did not know what it was referring to, I liked the beautiful material, the crescendo of forms, the intricacy of the composition and the clear reference, in my mind, of a period where the sensibility to geometry was very high, not a geometry that tried to be clever or mathematical if that make sense. It is a geometry that is more an insinuation than a scientific statement.

From this perspective I find the shapes of this sculpture closer to poetry than to the geometry of fractals for example.

There is a huge power when an artist allows him/herself to be dominated by the force of nature expressed by the use of his/her hands.

The transference of this takes almost a spiritual form. That is why this piece even when small is so powerful in its presence.

I image it being the fragment of a bigger piece, probably the keystone of a magical structure whole and part at the same time.

The color and material adds charm to the piece as it so beautiful that it makes this volume additionally a precious thing.

In what Room to place it?

My immediate visualization of this sculpture was to place it in a niche, somehow it will contain the piece and make it sharper, more talkative.

Following this thought I would place it to be the focal point of a room or perspective generated by the movement throughout the property.

Displaying it

I think it is important not to have this piece higher than 1.60 mts in total, it should not be look up but look down if possible

A white background or a dark color would make the piece stand out.

At least two sources of light should be considered so to neutralize the excess of shadows which in my opinion are not necessary to have.