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Here, There and Somewhere In Between: The Royal Academy at Hatfield House
Gary Hume RA, Baby Bird, 2011. English limestone and gloss paint, 177 x 30 x 26 cm. © Gary Hume. Photo: Geraint Lewis.

LONDON.- In spring 2013 the historic gardens of Hatfield House present a group of sculptural works by six Royal Academicians. This is the first time that the Royal Academy of Arts has collaborated with another organisation to curate an exhibition of Royal Academicians’ sculpture outside the Royal Academy.

The sculpture programme at Hatfield House was introduced a few years ago for the enjoyment of its many visitors and to reflect the personal interest of the Marquess and Marchioness of Salisbury in modern and contemporary art.

Lord Salisbury, said, "I am delighted that an idea, first conceived several years ago, of collaborating with the Royal Academy in mounting a sculpture exhibition at Hatfield is about to become reality. Over the past five years Hatfield House has gained a reputation for successful exhibitions within its Park, and I am sure that this joint project Here, There and Somewhere in Between will be an enormous success."

With Hatfield House’s agreement, the Royal Academy approached the Royal Academician and sculptor Bill Woodrow to curate a display by a group of fellow Academicians. The group visited the grounds and took inspiration from the possibilities the 17th Century gardens offered to show contemporary sculptural works. The selection and siting of each of the works was carefully undertaken by the artists, working closely with The Marchioness of Salisbury and the staff at Hatfield House, including the Head Gardner, Alastair Gunn.

The Royal Academicians showing work are: Ann Christopher, Richard Deacon, Alison Wilding and Bill Woodrow, who were elected to the Royal Academy as sculptor Members, and Michael Craig-Martin and Gary Hume, who were elected as painters but for whom sculpture is a significant part of their artistic output.

The title of the exhibition Here, There And Somewhere In Between, not only suggests the positioning of each work across the reaches of the gardens, but also intimates the movement across the group of works from figurative to abstract with many occupying a position in the middle.

Bill Woodrow RA, said, “The gardens provide an exciting range of spaces and textures, all with differing qualities of light. What is interesting from a curatorial perspective is the challenge to establish a rhythm or flow between the works sited in the formal gardens and those in the woodland area - a flow which will feel subconsciously right to the visitor.”

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