David Nash at Kew, A Natural Gallery

Nash's workshop within Kew

Inside the Temperate House

Eucalyptus Block

Hiding in the Temperate House

Yorkshire Sculpture Park had been a fabulous venue a couple of years ago for the work of David Nash OBE (b.1945) and I was very excited at the prospect of seeing the work again, this time in Kew Gardens.
Sadly, I didn't feel it delivered, it failed to pack a punch; some of the work seemed rather contrived and a bit insignificant within the setting of Kew, they did not achieve what the Henry Moore's had done.

Hidden amongst the plants in the Temperate House were several small sculptures, some beautiful, like the image above but I felt they had no empathy with what was around them.  The majestic chair like sculpture, in its' own space had room to breathe and be admired. The warm damp conditions present will change the wood and this in itself might make it worth retuning to see what happens.   At the entrance to Kew stands the wonderful Eucalyptus Block, four trunks that have fused together creating a fascinating centre to peer through.  Is this Nash or is this nature?

The Wood Quarry is Nash's outdoor temporary studio, with two upturned tree trunks that can't fail to bring a smile.  He claims he responds to what the wood suggests and has more recently cast his pieces in bronze;  an interesting development and very difficult to visually distinguish between blackened wood and the bronze, as every mark and knot seems to be beautifully captured.

It was good to see the Sherwood Gallery which puts it all into context with drawings, photography and more pieces. Overall, it makes for a lovely day out and it does encourage a closer observation of the trees but perhaps Kew is just a bit too big for some of the pieces to make their presence felt.  Jen

Royal Academy Summer Exhibition 2012

Richard Spare
'Goldcrest'   drypoint and watercolour

A breath of fresh air compared to previous exhibitions!  I can only think it is down to a more creative way of thinking when displaying the work and the expertise of coordinator Tess Jaray RA.  The largest gallery has abandoned its' huge paintings and instead there are scores of much smaller pieces forming a wave like pattern along its' length.  Yes, you still experience slight neck ache but there is room to step back, find your own space and enjoy the rhythms of the display without feeling overloaded.

My favourite room as always is the sculpture, installed by Alison Wilding. This too had a new layout with a greater concentration of pieces down the centre of the room, displayed at different heights.  With such a wide a variety of materials and no connection beyond being 3D, the initial impression is more 'junk shop' than RA but look closer and spot the gems.  David Nash's burnt oak with its' velvety texture and pleasing shape,  Lucy Glendinning's 'Feather Child', Dido Crosby's bronze pigmy rabbit and Nuala O'Donovan's layers and layers of unglazed porcelain beautifully arranged to create a basket like form.  So many beauties and then of course the challenging ones like Harriet Aston's brown paper bag with 'moon gold' ....why??

This year I felt there were more textile related pieces and particularly good to see Caren Garfen and Effie Jessop expressing their thoughts with hand stitch.  Two beautiful, cast conctrete posts resembling driftwood and enhanced with fibres - Eleanor Wright, would stand proud in any textile exhibition.

This year I felt it was an an excellent exhibition. Where else can you see the work of Royal Academians and there is plenty of their work on view, hanging next to that of amatuers?     Jen

Royal Academy of Arts Summer Exhibition 4th June - 12th August 2012