Hew Locke
Where Lies the Land? 3, 2019
Acrylic on wood with metal, plastic, textile, enamel, and found objects
200 x 226 x 74 cm
78 3/4 x 89 x 29 1/8 in
78 3/4 x 89 x 29 1/8 in
Hew Locke (b. Edinburgh, UK, 1959) spent his formative years (1966-80) in Guyana before returning to the UK to complete an MA in Sculpture at Royal College of Art (1994)....
Hew Locke (b. Edinburgh, UK, 1959) spent his formative years (1966-80) in Guyana before returning to the UK to complete an MA in Sculpture at Royal College of Art (1994).
Locke’s practice addresses the symbolism of statuary, monarchy and ships; how different cultures fashion their identities through visual symbols of authority; and how these representations are altered by the passage of time. Throughout an extensive and complex practice, Locke remains dedicated to illuminating histories – highlighting the relevance of the past within the context of contemporary culture and politics. Through various motifs, Locke reassesses the figureheads and imagery that represent nationhood. His critique of existing power structures is subtle and open-ended, encouraging the viewer to look more closely.
Locke’s Where Lies the Land? 3, is a contemporary interpretation of a boat as a votive object, representing both safe and dangerous passage. Locke states:
‘We’re all floating on the same ocean. As a child and young man I sailed the Atlantic. At sea, a twist of fate can send a super-yacht down – it can be an equalizer between rich and poor.’
Paying close attention to the particular histories of specific boats, Locke explores the contrast between complex subject matter and sculptural elegance. Exceptionally detailed, Where Lies the Land? 1 suggests personal and collective allegories of voyages made by explorers, colonialists, migrants, refugees and pirates. Locke’s boats speak of both hope and fear, evoking paradoxical notions of displacement and home. Histories and geographies are suggested in the layering of cargo, bright colour and talismans – highlighting complex subject matter without taking away from the sculptural elegance of each ship.
Locke’s fascination with boats can be traced through his practice, dating back to University. The critical work, Hemmed In Two (2000) ‘part boat, part package, part city, part animal, part infestation’ – was exhibited at Victoria and Albert Museum and Pérez Museum of Art, Miami (2016). Iterations of boat installations have appeared at Folkestone Triennial (2011); the Diaspora Pavilion at the Venice Biennale (2017); and in Locke’s comprehensive solo exhibition, Here’s the Thing at IKON gallery Birmingham earlier this year.
Locke’s practice addresses the symbolism of statuary, monarchy and ships; how different cultures fashion their identities through visual symbols of authority; and how these representations are altered by the passage of time. Throughout an extensive and complex practice, Locke remains dedicated to illuminating histories – highlighting the relevance of the past within the context of contemporary culture and politics. Through various motifs, Locke reassesses the figureheads and imagery that represent nationhood. His critique of existing power structures is subtle and open-ended, encouraging the viewer to look more closely.
Locke’s Where Lies the Land? 3, is a contemporary interpretation of a boat as a votive object, representing both safe and dangerous passage. Locke states:
‘We’re all floating on the same ocean. As a child and young man I sailed the Atlantic. At sea, a twist of fate can send a super-yacht down – it can be an equalizer between rich and poor.’
Paying close attention to the particular histories of specific boats, Locke explores the contrast between complex subject matter and sculptural elegance. Exceptionally detailed, Where Lies the Land? 1 suggests personal and collective allegories of voyages made by explorers, colonialists, migrants, refugees and pirates. Locke’s boats speak of both hope and fear, evoking paradoxical notions of displacement and home. Histories and geographies are suggested in the layering of cargo, bright colour and talismans – highlighting complex subject matter without taking away from the sculptural elegance of each ship.
Locke’s fascination with boats can be traced through his practice, dating back to University. The critical work, Hemmed In Two (2000) ‘part boat, part package, part city, part animal, part infestation’ – was exhibited at Victoria and Albert Museum and Pérez Museum of Art, Miami (2016). Iterations of boat installations have appeared at Folkestone Triennial (2011); the Diaspora Pavilion at the Venice Biennale (2017); and in Locke’s comprehensive solo exhibition, Here’s the Thing at IKON gallery Birmingham earlier this year.