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| Christopher Marvell b.1964 |
Born: London
Studied: at University of Newcastle Upon Tyne, 1982-86
Moved to St. Ives: 1998
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Selected Solo Exhibitions:
2008
'Christopher Marvell, Recent Sculpture', Belgrave Gallery St Ives
2006
Boats Birds Boys and Beasts - Bronzes, Belgrave Gallery, St. Ives
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Selected Exhibitions:
2010
'MMXMAS', Belgrave St Ives
Josie Eastwood Fine Art, Hampshire
Beaux Arts, Bath
Ainscough Contemporary Art, London
2009
Belgrave Gallery St Ives
2007
Open Eye Gallery, Edinburgh
Bircham Gallery, Norfolk
Rebecca Hossack Gallery, London
2006
Stour Gallery (with Elaine Pamphilon)
Ainscough Contemporary Art, London
Rebecca Hossack Gallery - London, New York, Berlin, Toronto, Zurich
2005
Open Eye Gallery, Edinburgh
Badcocks Gallery, Newlyn
Thompson's Gallery Sculpture Show
2004
Ainscough Contemporary Art, London
Hannah Peschar Sculpture Garden
2003
Courcoux and Courcoux, Stockbridge
Thompson's Gallery, London
Badcocks Gallery (with Elaine Pamphilon)
2002
Ainscough Gallery, London
Thompson's Gallery, London
2001
Bircham Gallery, Norfolk
Chelsea Flower Show (also 2002 - 2004)
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Selected Collections:
P&O, Olga Polizzi, Anita Roddick, Cambridge University (Fitzwilliam College), Addenbrookes Hospital, Cambridge Science Park, Hintlesham Hall, Denville Lodge, Lord Burns (Abbey National), Edward Bond, Ballymaloe Cookery School in Cork.
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Introduction to Boats Birds Boys and Beasts exhibition catalogue:
Conceived through drawing, expressed initially in maquette, fixed in plaster and fully realised in bronze, the sculpture of Christopher Marvell is sparing in detail but fulsome in association. The solid, substantial, patinated human and animal subjects that constitute the larger part of his output manage to achieve an irresistible balance between humour and pathos, ugliness and beauty, strength and weakness, past and present, and art and craft. Bringing to mind elements of the works of Marini, Giacometti, Miro and Moore, Marvell's broadly representational sculpture is often charmingly quirky without ever being diminished by its idiosyncrasy.
His works impose themselves as seemingly blunt facts, but on deeper reflection they initiate a subtle dialogue that cajoles us to contemplate not only the relationship between human and animal, but also between the human/animal archetype and the human/animal condition itself. Somehow, his animals do not contain individual character, but rather they suggest the character of their species as distilled through human convention and consciousness. His Sea Dog, Cat and Sheep, for example, do not remind one of, say, Fido, Felix or Flossie, they ask us to re-consider our conceptions of dog, cat and sheep in their own generic terms.
Whether realised as solitary figures, as arranged groups, or in juxtaposition with the man-made, Marvell's sculpture - which appears as if formed of the very bones of the earth - also steers us into a reassessment of our conceptions both of the 'nature of things' and of the 'things of nature'. The intense patination is essentially natural, and yet it is also the product of human judgement and human promotion. Whilst presenting itself as natural; rough, eroded and aged; devoid of 'precious' value, the aesthetic stipulation cannot prevent our understanding that it conceals bronze as we most often conceive it: man-made, shiny, ornamental and precious. This is sculpture that appears to be what it is, but nevertheless asks what it is to 'appear to be' anything.
Despite living and working primarily in the south east of England, Marvell spends a good deal of time at his home in St Ives, and draws inspiration from both Cornish history and the Cornish environment. This is clearly seen in his fishermen, seabirds, and iconic Penwith birds (which combine animal physicality with distinctly Celtic mythological overtones). This exhibition reveals an artist with confidence in his art form and medium, and a craftsman who relishes the challenge of the foundry.
Richard Blackborow, June 2006
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