Dimensions: object: 337 x 279 x 298 mm
Copyright: © estate of Anthea Alley | CC-BY-NC-ND 4.0 DEED, Photo: Tate
Curator: Here we have Anthea Alley's "Spatial Form." I'm struck by the repetitive use of circular and linear elements in this sculpture. Editor: It gives the impression of something caught mid-explosion, perhaps, or a deconstructed architectural model. The interplay of the metalwork appears quite complex. Curator: Alley's process here is key. She likely employed welding techniques to assemble the bronze, highlighting an industrial aesthetic, don't you think? It speaks to a post-war engagement with new materials and methods. Editor: I see something far more primal—a skeletal structure, like a ribcage turned inside out, hinting at themes of vulnerability and exposure. The bronze almost suggests petrified remains. Curator: Interesting. I lean toward thinking about the labor involved, the repetitive actions, the transformation of raw material. It’s about the means of production as much as final form. Editor: But that form evokes such potent feelings, drawing on deeply ingrained fears and fascination with inner workings made visible. Curator: True, and in that tension, we see the richness of Alley’s creation. Editor: Yes, it invites us to see beauty within apparent chaos.
http://www.tate.org.uk/art/artworks/alley-spatial-form-t00655
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Anthea Alley gained recognition as a painter in the 1950s, making brutalist abstract paintings, often using everyday materials such as hessian sacks. However, she is best known for her sculpture and reliefs. This is one of a series of sculptures made from machine stampings; the pieces that remain after shapes have been stamped out of the metal by machine. Alley began to work with these stampings in 1962 and used a variety of metals and patterns to create effects of transparency and movement in her sculpture, ‘dividing up air into slices, light enough to make the air round them seem solid, or heavy and stable’. Gallery label, April 2019