Henry Moore Institute Autumn Programme
Release date: Tuesday, 20 July 2021
The Henry Moore Institute announces its autumn programme; a presentation of two new exhibitions that explore sculptural process, organic form and the human body in new work by Julia Crabtree and William Evans and a rare presentation of studies by Henry Moore.
- Julia Crabtree and William Evans: Slip is the artist duo’s largest exhibition to date, featuring new work and thoroughly investigates the collaborators’ process-driven sculpture practice.
- Henry Moore: Configuration is a focused insight into Moore’s use of material, space and the humanisation of organic form and a rare opportunity to see his work at the Institute.
- Free entry to all and a dedicated programme of online research events will coincide with the exhibitions.
Julia Crabtree and William Evans: Slip
17 September 2021 - 16 January 2022
Julia Crabtree and William Evans, Gullet, 2017, Installation View, Cell Project Space
Photo: Rob Harris
Julia Crabtree and William Evans, Clenched, 2018
Courtesy the artists and Tenderpixel. Photo: Original & theCopy
Julia Crabtree and William Evans, Gulch (detail), 2016, carpet, canvas, dye, bean-bags, memory foam
Photo: Rob Harris
The Henry Moore Institute is delighted to announce Slip, Julia Crabtree and William Evans’ largest exhibition to date. Slip spans the Institute’s main galleries and includes work from the last five years alongside new sculptures made especially for the exhibition. Working collaboratively, Crabtree and Evans are known for their process-driven sculpture practice. They incorporate a breadth of traditional and non-traditional materials and modes of making, from casting, glass-blowing and video-making to printing on carpet.
Overlapping process and concept, the artists initiate series of contained experiments with materials and everyday objects. In a new body of ceramic works made for the exhibition a number of mass manufactured objects designed to support the body are appropriated and manipulated across an intricate sculptural enquiry. Embracing the element of chance inherent in casting, firing, glazing and the creation of templates for modular recreation, multiple processes are engaged with to create new objects.
Establishing and breaking the rules of making and of functional objects is also typical of Crabtree and Evans’ work. In another new series, blown glass sculptures are pushed to their material limits with the external forces of gravity and the artists’ own collaborative decision-making playing a leading hand in the final form. The resulting coloured vessels are displayed with their opening—the blow hole used to make them—at their base. Filled with plant-life, the sculptures become a quasi-ecological experiment giving the fragility, decay and concern for entropy that underpins Crabtree and Evans’ work a new level of visibility.
The experience of the body in space and the tendency to understand the world through its ‘things’ are also highlighted. For Gulch 2016, the artists printed images from a digital simulation of a smoke-filled room onto thick-pile domestic carpet. Defiantly ill-fitting and installed at the threshold of the exhibition, the work reveals the duo’s ongoing interests in scenography and the collision of real and digital experience. The final work in the exhibition, the video installation Crutch 2017, envelops the viewer in a projected image of bodily indentations made by an invisible force into a soft and tactile material. Whether in ceramic, glass, video or installation, their works speak of the body without ever representing it directly.
“It has been fascinating to see Crabtree and Evans working on a new series of sculptures for this significant exhibition. The way they collaborate to create their work, locating and breaking rules along with their experimental processes is as vital as the objects they create. Our exhibitions programme at the Henry Moore Institute aims to display artists who push the boundaries of sculpture and Julia Crabtree and William Evans’ innovative approach to making certainly does that.”
Crabtree and Evans were the recipients of the Nina Stewart Residency award at South London Gallery, the Mary Hofstetter Legacy Scholarship for the New Materiality residency at the Banff Centre, Canada and are Wysing Arts Centre residency alumni. They are currently working on a garden commission for Flat-Time House with Alice Hattrick. Recent commissions include Gulch, exhibited at the Walter Phillips Gallery, Banff and Crutch shown as part of Maximum Overdrive at Focal Point Gallery, Southend-on-Sea. Solo exhibitions include Cell Project Space, London, South London Gallery and Legion TV, London.
A programme of free online research events will coincide with the exhibition, investigating process-based sculpture practice. Full details to be announced.
Henry Moore: Configuration
17 September 2021 - 23 January 2022
Henry Moore works on a maquette and found object in his studio at Perry Green, c.1965
Photo: Errol Jackson
The hand of Henry Moore holding a bone fragment from his vast collection of natural forms
Photo: Henry Moore Archive
Reclining Figure: Tunnelled Background 1978, Charcoal (washed), collaged photograph, chalk, ballpoint pen, pen and ink, wash, gouache, 228 × 305 mm
Photo: Ferdinand Ullrich
The Henry Moore Institute presents this rare opportunity to see the work of its founder in Leeds. The Henry Moore Institute was established by the artist’s foundation as a centre dedicated to furthering the study and appreciation of fine arts, primarily sculpture. This will be only the fifth display in the Institute’s 28-year history to focus on Henry Moore’s work.
Configuration brings together a small, focused selection of sculpture, drawings and collages highlighting Henry Moore’s ceaseless investigation into form, material and volume. Throughout his lifetime, Moore collected objects such as bones, stones, shells and driftwood which he would turn over in his hands, build up, press into clay, cast, or photograph. This haptic practice saw Moore humanise these forms, and capture their relationship to the body both physical and imaginative.
“For me, everything in the world of form is understood through our own bodies. From our mother’s breast, from our bones, from bumping into things, we learn what is rough and what is smooth. To observe, to understand, to experience the vast variety of space, shape and form in the world, twenty lifetimes would not be enough.”
The exhibition contains a selection of Henry Moore’s collaged works of the 1930s and 1970s. Moore’s Transformation drawings from the 1930s depict the metamorphosis of natural forms then cut up, turned around and re-imagined. He repeated this method in his photo-collages of the 1970s in which fragments of flints from the studio take on the forms of torsos or heads.
At the centre of Configuration are Moore’s multipart figures in which the sculpted body ceases to be a self-contained reality. Moore incorporates space as a tangible substance and creates a permeable boundary between the physical body and the space it displaces. By using organic forms to create figures in the studio, which when enlarged relate to the wider landscape, Moore oscillates between a tactile material experience and a poetic image of the body. There is a power in this liminal space between what is or was and what is depicted. The potency of this familiarity or strangeness, is further enhanced when his materials change and bone becomes bronze.
“Through a select group of Moore’s works, Configuration concentrates a lifetime of the artist’s investigation and working process - additive, subtractive, assembling, one of ordering and re-ordering the world of objects around him - to illustrate his profound understanding of the relationship between this world of form and our own bodies. I am particularly delighted that we have been able to bring to Leeds, the city where Moore began his training, rarely exhibited plasters and drawings and especially to show these concurrently with an exhibition of contemporary work, the like of which Moore created the Institute to support. These works are usually held at the Foundation’s headquarters at the Henry Moore Studios & Gardens, Hertfordshire.”
Configuration is curated by Hannah Higham, who will give a free online talk about Henry Moore and the works in the exhibition on Wednesday 10 November 2021 at 6pm.
For further information, images or to arrange a visit please contact:
Kara Chatten, Marketing and Communications Manager
Henry Moore Institute
Emily Dodgson, Head of Marketing and Communications
Henry Moore Foundation
Fiona Russell, Senior Account Director
Notes to Editors
About the Henry Moore Institute
The Henry Moore Institute is situated on The Headrow, next to Leeds Art Gallery, in Leeds city centre's cultural hub, just a five-minute walk from Leeds Station.
We welcome everyone to visit our Galleries, Research Library and Archive of Sculptors’ Papers to experience, study and enjoy sculpture from around the world. The Institute can be found in the centre of Leeds, the city where Henry Moore (1898-1986) began his training as a sculptor. Our changing programme of historical, modern and contemporary exhibitions and events encourage thinking about what sculpture is, how it is made and the artists who make it.
As part of the Henry Moore Foundation, we are a hub for sculpture, connecting a global network of artists and scholars, continuing research into the art form and ensuring that sculpture is accessible and celebrated by a wide audience.
Open Tuesdays to Sundays, 10am – 5pm
Closed Bank Holidays
The Headrow, Leeds, LS1 3AH
The Henry Moore Foundation was founded by the artist and his family in 1977 to encourage public appreciation of the visual arts. Today we support innovative sculpture projects, devise an imaginative programme of exhibitions and research worldwide, and preserve the legacy of Moore himself: one of the great sculptors of the 20th century, who did so much to bring the art form to a wider audience.
Henry Moore Studios & Gardens is the former home and work-place of sculptor Henry Moore (1898-1986). From 1940 until his death in 1986, Moore lived and worked in rural Hertfordshire where he acquired over 70 acres of land and set up various studios, creating the ideal environment in which he could make and display his work and cater to an international demand for exhibitions. Now open to the public, Henry Moore Studios & Gardens offers a unique insight into the artist’s working practice and showcases a large selection of Moore’s renowned monumental sculptures in the landscape in which they were created. It also presents annually changing exhibitions, which further illuminate the life and work of the sculptor and is home to the Henry Moore Archive, one of the largest single-artist archives in the world.
Henry Moore Institute
T: 0113 246 7467
Galleries: Tuesday to Sunday, 10am - 5pm
Research Library: Monday to Saturday, 10am - 5pm; Sunday, 1 - 5pm
Archive of Sculptors' Papers: Tuesday to Friday, by prior appointment