University College, London
Dame Phyllida Barlow
Early life and education
Although born in
Whilst studying at Chelsea, Barlow met her husband, the artist and writer Fabian Benedict Peake, the son of Mervyn Peake, author of Gormenghast, and his wife the artist and memoirist Maeve Gilmore. She later attended the Slade School of Fine Art from 1963 to 1966 to further study sculpture. Described by The Independent as "a British art dynasty", Barlow and her husband had five children together, including the artists Eddie Peake and Florence Peake.
After graduating from Slade School of Art in 1966, Barlow began a forty year long career as a teacher in various institutions, starting with a part-time teaching position in Sculpture at the former West of England College of Art, now known as the
Barlow's break as an artist came in 2004 when she was shown at the BALTIC, Gateshead. This was followed by representation by Hauser & Wirth. In 2018 and 2019, Barlow was 'provocateur' for the Yorkshire Sculpture international.
Barlow's work is a combination of playful and intimidating. The child like colours she painted her sculptures, almost referencing toys is in deep contrast to the industrial materials and scale of her works. Her sculptures tower above the viewer as if a huge section of scaffolding. She played with mass, scale, volume and height which creates a tension to her forms. Her forms give the impression of being both excruciatingly heavy and light as air simultaneously. When in the presence of her sculpture, one loses the sense of object and is entered into an environment. Barlow did not hide her process and material choices from the viewer, she exposed each detail.
Best known for her colossal sculptural projects, Barlow employed "a distinctive vocabulary of inexpensive materials such as plywood, cardboard, plaster, cement, fabric and paint" to create striking sculptures. Drawing on memories of familiar objects from her surroundings, Barlow's practice was grounded in an anti-monumental tradition characterised by her physical experience of handling materials, which she transformed through processes of layering, accumulation and juxtaposition. "Obtrusive and invasive, Barlow's large-scale sculptural objects are frequently arranged in complex installations in which mass and volume seem to be at odds with the space around them. Their role is restless and unpredictable: they block, interrupt, intervene, straddle and perch, both dictating and challenging the experience of viewing." Her constructions are often crudely painted in industrial or synthetic colours, resulting in abstract, seemingly unstable forms.
Maybe I don't think enough about beauty in my work because I'm so curious about other qualities, abstract qualities of time, weight, balance, rhythm; collapse and fatigue versus the more upright dynamic notions of maybe posture ... the state that something might be in. Is it growing or shrinking, is it going up or down, is it folding or unfolding?— Phyllida Barlow, The Guardian, 2016.
Barlow was also a prolific painter, yet even in this field she recognised they were "sculptural drawings". She painted as part of her curriculum at the Chelsea College of Arts - where she was encouraged to practice by artist and sculptor Henry Moore - and carried on doing so throughout her life as an artist, accruing a vast archive of work.
Barlow's work has been presented in solo exhibitions around the world. In 2014, Barlow was commissioned to create new work for the Duveen Galleries at Tate Britain, London.
After being awarded the Kunstpreis Aachen in 2012, Barlow was commissioned to do a solo exhibition for the Ludwig Forum für Internationale Kunst in Germany. The exhibition Brink featured seven expansive sculptures creating a "stage-like arena" for her fictive city.
From 3 December 2013 to 24 February 2014, Barlow presented a solo exhibition entitled HOARD at
2015 saw Barlow's work travelling up to Scotland to be installed in the Fruitmarket Gallery in Edinburgh. The exhibition was called 'Set' and consisted of new works which were specifically produced for the show. Her work took over the gallery transforming it into an all consuming environment of bright matter. Her forms undulated through the gallery space with the intention of creating an argument or tension between the two floors of the gallery; "The upstairs space shrugging its shoulders at the downstairs space" as Barlow herself put it.
In 2016, Barlow presented a solo exhibition of new work at the
For the 2017 Venice Biennale, Barlow unveiled her powerfully industrial and bulbous Folly series, which took over both a sanitised indoor space and the idyllic Venetian outdoors. Barlow initially planned for her installation of 41 'baubles' to be hanging from planks that jutted from facade of the pavilion but this vision had to be altered due to expense; they were ultimately displayed in a way that resembled lollipops. Graham Sheffield, the Director Arts at the British Council at the time, wrote that Barlow was selected for her "challenging and imposing sculptures" which unsurprisingly commanded a distinct and powerful presence at the 57th Biennale.
During the course of 2018, Barlow presented three solo shows. Hauser & Wirth curated the exhibition entitled 'tilt', which was held in their New York City gallery. In New York she also exhibited with High Line Art, with the show 'prop'. In the UK in 2018 Barlow's show 'Quarry' was held in Edinburgh, Scotland, at Jupiter Artland.
In 2019 the
Honours and awards
Barlow became a
She died on 12 March 2023, aged 78.
- ^ "Phyllida Barlow, giant of British sculpture, 1944–2023". artreview.com. Retrieved 13 March 2023.
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- ^ "Townsend Lecture 2014: Phyllida Barlow". Slade School of Fine Art.
- Royal Academy.
- ^ "Phyllida Barlow to represent Britain at Venice Biennale". BBC News. 4 March 2016.
- ^ . Retrieved 5 October 2019.
- . Retrieved 14 March 2023.
- ^ Godfrey, Mark (2 September 2006). "Phyllida Barlow. Learning Experience". Frieze (101).
- ^ Brown, Mark. "Leaping around naked in clay, painting her girlfriend's vulva... Meet Florence Peake – 'the Lena Dunham of art'",The Independent 4 February 2018. Retrieved 3 February 2019
- ^ OCLC 920454234.
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- ^ . Retrieved 22 July 2020.
- ^ "10 to See: Yorkshire Sculpture International". Aesthetica Magazine. 10 June 2019. Retrieved 14 March 2023.
- ^ a b "Artists – Phyllida Barlow – Hauser & Wirth". www.hauserwirth.com. Retrieved 15 July 2020.
- ^ "Phyllida Barlow to represent Britain at the Venice Biennale 2017". British Council.
- ^ "Artist Rooms: Phyllida Barlow". Tate.
- ^ "Phyllida Barlow: dock". Tate.
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- ^ Valys, Phillip (3 December 2013). "Phyllida Barlow: Beyond sculpture". Sun Sentinel. Retrieved 14 March 2023.
- ^ "Phyllida Barlow". The Fruitmarket Gallery. Retrieved 16 July 2020.
- ^ "The Hepworth Prize for Sculpture". The Hepworth Wakefield.
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- ^ "Phyllida Barlow RA | Exhibition | Royal Academy of Arts". www.royalacademy.org.uk. Retrieved 15 July 2020.
- ^ Chilton, Martin (31 December 2015). "Sculptor Phyllida Barlow gets CBE for 'services to art'". The Telegraph.
- ^ "No. 63377". The London Gazette (Supplement). 12 June 2021. p. B8.
- Phyllida Barlow at IMDb
- Phyllida Barlow discography at Discogs
- 1944 births
- 2023 deaths
- 20th-century English women artists
- 21st-century English women artists
- Alumni of Chelsea College of Arts
- Alumni of the Slade School of Fine Art
- Academics of the Slade School of Fine Art
- Academics of University College London
- Artists from Newcastle upon Tyne
- Dames Commander of the Order of the British Empire
- Darwin–Wedgwood family
- English women sculptors
- Royal Academicians