The foremost interest of the sculptor Richard Deacon is in his material as a substance and, above all, its malleability. He uses these materials, such as steel, plastic, resin, glass, clay, copper, stone and aluminium, as manifestations of expression, ‘as is the act of the work itself that concludes the undertaking.’
Along with these unusual forms – biomorphic-like volumes, convoluted serpentine delineations and dynamic entwinements – from the end of the 1990s the artist produced ceramic pieces finished in a great variety of glazes, thus combining painting and sculpture.
What constantly fascinates him is the intellectual link to his work. He has written many texts that are assembled here for the first time: notes from his student days, transcriptions of actual dialogues and situations, personal views in retrospect, spontaneous memos of production processes, contributions to the catalogues of artist friends and memories of people who played a role in his biography, among other things.
The reader is not only given a fragmentary insight into the mental world of the artist, but can directly recapitulate how Deacon became a sculptor.