|
|
|
|
Artist Exhibitions:
The painting, Once upon a time
there was OIL III, in the
collection of the Tate
Gallery, London, UK will be on
show throughout April 2003 at
the Tate Britain, Millbank,
London, UK in the exhibition
Broken Ground.
solo exhibitions
2001/2002
Terry Setch Retrospective
touring exhibition:,
Royal West of ...
Further Information
|
|
Artist Galleries:
Coming Soon!
|
|
Artist Reviews:
Major UK Reviews since 1990
2002 The Guide, The Guardian,
Exhibitions, Terry Setch
Retrospective
2001 Sunday Telegraph, by John
McEwen
2001 South Wales Echo
Weekender, 24 Mar, The Beach
Comber,
2001 Galleries, March, Terry
Setch by Paul Gough
2001 Modern Painters, Spring,
Terry Setch by Hugh Adams
2000 Daily Telegraph, ...
Further Information
|
|
Collections:
UK Collections
The Tate Gallery, London
National Museum and Galleries
of Wales
Victoria and Albert Museum,
London
Welsh Arts Council
British Council, London
Glynn Vivian Museum &Art
Gallery, Swansea
Arts Council of Great Britain
Contemporary Arts Society of
Wales
Wakefield City Art Gallery
Coleg Harlech
Contemporary Arts Society,
London
Northampton ...
Further Information
|
|
Commissions:
Coming Soon!
|
|
|
Artist Statement for Terry Setch
|
|
|
Paul Moorhouse in an essay about the work of Terry Setch says -
Setch's art has developed as a means of expressing his relationship with the beach and his experience of it, in particular the processes of metamorphosis which are evident in the landscape. Such changes may be sudden and transient. For example, when rain or mist dissolve the view. Other transformations in the landscape are more gradual: the result of opposed elements in a continuous state of exchange. The beach is a place where land and sea come together. Its appearance records the perpetual dialogue between earth and water. The sea erodes the headland which spills its shattered masses onto the beach. These mingle with man-made rubbish washed up by the tide. All kinds of objects are visible: tangles of fishing line; plastic bottles and bags; bits of furniture, clothing and carpet; fragments of push-chairs and cookers; even rusting car bodies which have been pushed over the edge of the headland. As a result of weathering these synthetic intrusions in the landscape undergo an imperceptible but inevitable process of transmutation. Simultaneously sand, rocks and detritus are bonded together and fixed, repeatedly buried and unearthed, or constantly shifted by the incessant tide.
Setch finds this conjunction of the synthetic and the natural, and the transformation of one by the other, aesthetically and intellectually stimulating. The implications of this attitude are complex. In one way Setch sees amidst this chaos the formation of an alternative order predicated on dissonance. He delights, for example, in the 'family of forms' which joins objects thrown together randomly. At another extreme, the presence of synthetic objects on the beach focuses, for Setch, the question of man's relationship with the landscape and with nature in general. In this way, such pollution manifests impending ecological disaster: the evidence of a society at odds with its environment. Setch's art occupies the ground between these poles.
Quote from the essay by Paul Moorhouse. Terry Setch: New Work 1982-92 Published by the Welsh Arts Council and the Trustees of the Arkwright Arts Trust, London ISBN 0 946329 34 6
|
|
send an email
