The Now

1999
Bronze
364 x 277 x 120 cm
Edition of 1

In placing a wedge and a cone together in positions that individually would be impossible to sustain, Hall enables them to stand by mutual support. The balance and tension between them have parallels in the conceptual content of the sculpture; we are encouraged to think of the fleeting nature of The Now.

The relative size of the two elements, with the smaller supporting the larger and curve against flat surface, gives visual contrast to their corresponding triangularity. As with many of Hall's works, in moving around The Now it becomes possible to see both open and closed form. Surface and finish give a purity of this sculpture. Hard lines seem softened by the rich blue patina, evenly applied in soft patches. Raw bronze shows through very slightly in some areas where the colour fails to mask its hardness, one visuality giving way to its opposite. The two triangular points of the wedge and of the cone pull in opposite directions, and some views give the impression that these angles are identical. The Now resists analysis; no matter how much we may try to deconstruct Hall's sculpture in the mind, the physical balance and simplicity of its elemental forms move beyond rationality toward the realm of poetry.

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About The Artist

Nigel Hall's works are principally made of polished wood or steel and concerned with three dimensional space, mass and line. His abstract and geometric sculptures give as much prominence to voids and shadows as to the solidity of material and each work changes with light and viewpoint reflecting the landscapes that inspired them. In 1970 he produced his first tubular aluminium sculptures in which he explored ways of encapsulating space in a linear manner, thus manipulating our perceptions of it. A sense of place and placement have always been integral to his work, and shadows play a role equal to that of line, mass or void, as do changes of aspect from altered viewpoints. An almost minimal refinement and economy of means has recently given way to robust forms which still remain very carefully considered in their configuration. These refer obliquely to mountain landscape, which alters dramatically when the viewer moves within it.

Nigel Hall

Born: 1943