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EXHIBITION: Richard Kindersley

11 September - 3 October 2014

Open Monday to Friday 8.30am - 6.00pm

Richard Kindersley is a leading calligrapher and sculptor with commissions throughout the world. For his contribution to architectural lettering and inscriptions he was awarded an Honorary Fellowship of the Royal Institute of British Architects as well as The Royal Society for Arts Award for Art in Architecture.

Commissions include a plaque within the newly redeveloped concourse at King's Cross Station, as well as work for St Paul's Cathedral, Westminster Abbey, The Supreme Court in Parliament Square, The National Museum of Scotland, Exeter University, British Telecom, Sainsbury's, Lloyds Register of Shipping, Christies' Fine Art, British Bank of Hong Kong in Dubai, Liberty's of London, the National Gallery of Ireland, and The British Embassy in Algiers. One of Richard's most notable works is a group of 10 Standings Stones for the Pilgrims Way commissioned by BP International.  London exhibitions include The Mall Gallery, permanent installation in the V&A, Roche Court and The Cork Street Gallery. He has exhibited internationally in Copenhagen, Berlin, Rome and the USA. 

Examined through unexpected materials and techniques, this exhibition explores the process of reading and discovering the unseen letters of the alphabet by denying words their meaning and exploiting them as building blocks for patternmaking. In the normal process of reading, the eye passes automatically over text, drawing meaning accurately and quickly through the seemingly invisible letters, and yet the letterforms can give a special resonance to the text, imparting subtle flavour and colour without impairing the reading. 

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There are two ways of making of letters.The use of geometry, ruler & compass favoured by the creators of early Greek inscriptions. Or the gestural movement of the hand using the free flowing movement of the brush that created the great classical inscriptions of Imperial Rome. The green oak ARTWORD illustrates letter making using geometry. By reducing letters down to basic forms there is an engaging unity and simplicity about the forms.

The cold rolled steel letters ARTWORD are first drawn on paper using the gestural sweep of the hand tracing out lines that are restrained by the natural geometry of wrist and elbow. This freedom of movement and energy contained within the articulation of joints produces its own form of unity, particularly a rhythmic quality which can be seen both in 1st Century Imperial Roman letters and broad edged pen of calligraphy.

Recent new research by the eminent Cambridge psychologist Professor Simon Baron Cohen has demonstrated how the human mind is drawn naturally to patterns. At one extreme someone on the autistic scale has their life dominated by pattern, structure and repetition. These conditions of the mind can lead to great scientific discovery by individuals being able to see and tease out patterns that others cannot see. Most people are clustered at the top of bell curve of pattern recognition drawn to and delighting in patterns. Not just in artefacts but also in nature, sunflower heads and the spirals of ammonites. This natural predisposition of the mind to delight in patterns has a significant effect on the way we see lettering and calligraphy.

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