LONDON.- The Willer gallery
presents a unique exhibition of the complete series of limited edition bronze candelabras created by Lynn Chadwick, shown together for the first time.
Lynn Chadwick is one of the preeminent British sculptors of the 20th Century. During a career spanning over 50 years until his death in 2003 he secured an international reputation underpinned by major prizes, important commissions, and a lifetime of private and public exhibitions, culminating with a major retrospective at Tate Britain in late 2003. Represented in the worlds leading public and private collections, increasing recognition of his major contribution to British sculpture ensures that his reputation continues to grow. Throughout his career, Chadwicks work drew on the natural world in abstracted human and animal forms, and developed archetypal constructions instantly recognisable to those familiar with his work.
But even those well versed in Chadwicks oeuvre are unlikely to be familiar with his fascination for a domestic object, the candle holder, which he returned to at regular intervals throughout his life. Never previously shown together, the candelabras, seen as a whole, undoubtedly reflect, and are a part of, all the elements being explored in his pure sculpture.
Chadwick clearly did not approach the candelabras as an element apart requiring special treatment. They were as much a part of his life and work as the wonderful fire pit hood he created for the monumental main room at his home, Lypiatt Park in Gloucestershire. Some are forms into which holes were punched for holding candles, others were scooped out for the purpose, and still others harked back to his early career working in an architects practice and as a designer.
Like the well known sculptures, the candelabras are cast in bronze, a material that dominated his work. The working of their surfaces - in texture, relief, and patination - also mirrors Chadwicks main body of work. Cast in the same foundry as his other sculptures, using the same methods which he rigorously managed and controlled.
The only tacit acknowledgement of any difference between the candle holders and his other creations may be found in the larger editions Chadwick authorised for these functional pieces, which he often used in dramatic large groups. In all other respects they can stand alone, with or without candles, as fascinating examples of his work, creations spanning virtually the whole of his working life.