London is presenting an exhibition of new work by the leading British artist Brian Clarke.
Presenting the artists stained-glass pieces and paintings, the exhibition is on view at 610 Lexington Street from 13 February to 21 March 2015.
Clarkes solo exhibition runs in conjunction with A Strong Sweet Smell of Incense, a group exhibition curated by Clarke at 6 Burlington Gardens celebrating the seminal Swinging London art dealer who was both a friend and early supporter of Clarke. Pace published two catalogues to accompany the respective exhibitions.
For more than four decades, Clarke has pioneered new directions in stained glass, extending his practice to painting sculpture and mosaics. Architecturally, Clarke has collaborated with figures such as Norman Foster, Zaha Hadid, I.M Pei and Renzo Piano. Clarke developed his interest in glass out of exposure to British Gothic cathedrals during his childhood in northern England. Although he maintains a classical knowledge of the medium, he has developed it beyond its largely religious siting. Clarke has filtered his understanding of stained glasss history and technique through a contemporary canon, employing the delicate medium to make artworks in the non-ecclesiastical traditions of Pop Art and abstraction.
After nearly four decades of intense production in painting, sculpture, and stained glass, Clarke is not an easy artist to absorb, let alone to classify. If there were an artist capable of synthesizing space, time, and light, ranging from his intimate drawings in the air on black sugar paper to his rigorous indepth architectonic achievements, he could be none other than Brian Clarke. Robert C. Morgan, Between Extremities catalogue, Pace Gallery NY, 2013.
In recognition of the significance of architecture and in situ work in his practice, Clarke installed a new stained-glass window specifically designed for the Lexington Street gallery.
The selection of paintings also demonstrates the interaction between media in the artists oeuvre. Paintings frequently function as the genesis of Clarkes stained glass works, yet the distinction between the opacity of painting versus the site-specific translucency of the glass, reveals his sensitivity to colour and material.
Brian Clarke (b. 1953, Oldham, Lancashire, England) is best known for radically updating and innovating the medium of stained glass, while also maintaining active practices in painting, sculpture, mosaics and tapestry. Since the early 1970s, he has collaborated with some of the worlds most prominent architects and artists to create stained-glass proposals and installations for hundreds of projects, including the Pyramid of Peace and Accord, Kazakhstan (Norman Foster); the Al Faisaliyah Center, Riyadh, Saudi Arabia (Foster + Partners); the Pfizer World Headquarters, New York; the Papal Chapel of the Apostolic Nunciature, London, U.K.; the Darmstadt Synagogue, Germany; Hessisches Landesmuseum, Darmstadt, Germany; Linköping Cathedral, Linköping, Sweden; NorteShopping, Rio de Janeiro, Brazil; and the Research Centre, Saudi Arabia (Zaha Hadid). Clarke also designed stage sets for two of Paul McCartneys world tours and for the Dutch National Ballet.
Clarkes stained-glass works and paintings have been the subject of exhibitions at international museums including the Gemeentemuseum, The Hague, Netherlands; Sezon Museum of Art, Tokyo, Japan; Munich Stadtmuseum, Germany; the Centre International de Vitrail, Chartres, France; and the Vitro Musée, Romont, Switzerland. His work is represented in international public and private collections worldwide, including the Corning Museum of Glass, Corning, New York, where his 1,000square-foot installation The Glass Wall (1998) is on view. Clarke lives and works in London.
Clarke was represented by the Robert Fraser gallery until 1985. He is now represented by Pace and this is his second exhibition with the gallery.