Celia Scott attempts to rescue figurative sculpture from its exclusively classical connotations, while at the same time employing the visual and formal language of classical method. Scott's work sets itself apart from the current architectural and artistic landscape, highlighting moments in the collective memory against the backdrop of modern experience.
With a fascinating essay by theorist and critic Alan Colquhoun, this is the first complete look at Scott's sculptural practice, and the influences that shape her choice of subject and form.
What people are saying - Write a review
We haven't found any reviews in the usual places.
abstraction Alan Colquhoun Alistair Clark Arch Bronze architect architecture artist Black Dog Publishing British Library bronze bust bronze cast building bust form Celia Scott character Charles Jencks classical clay in process cm high Colin Rowe crayon on paper culture David Attenborough Dean Centre designed detail Eduardo Paolozzi Edward Jones Eliot Eric Parry exhibition face felt Figure Heads foundry Francoise Choay friends gave Harry Wilson Hephaestus idea James Stirling John Miller Leon Krier London looking Lucian Freud Lucy-May Mall Studios maquettes marble Michael Graves Mies MJ Long modern Museum Opposite bottom Opposite top painter pedestal pencil and crayon pencil on paper Peter Eisenman photographs plaster casts Portland stone Portrait preparatory drawing Princeton private collection problem Richard Godwin-Austen Richard Meier Right rimless glasses Rita Wolff Rodin Rohe Sandy Wilson sculptural object seemed sitter space terracotta Terry Farrell thing thought took traditional bust tried turned Vulcan