Andrew Lord, ‘Biting’, 1995-1996, Phillips

Larger: 30 in. (76.2 cm) high, 21 in. (53.3 cm) diameter
Smaller: 29 1/4 in. (74.3 cm) high, 17 in. (43.2 cm) diameter

A unique sculpture in two parts.

Signature: Underside of larger signed with marker, 2 / 2 BITING (TWO VASES.). Underside of smaller signed with marker, 1 / 2 1995-6/BITING (2 PART) I/Andrew Lord.

Mark Del Vecchio, Postmodern Ceramics, London, 2001, p. 70 for similar examples
Emma Dean and Anthony Spira, eds., Andrew Lord, exh. cat., Santa Monica Museum of Art, Santa Monica, 2010, pp. 83, 134 for similar examples

Gladstone Gallery, New York
Acquired from the above by the present owner, 2008

About Andrew Lord

In his evocative, cerebral ceramic objects, Andrew Lord brings physical form to intangible phenomena such as breathing, memories, and sunlight. Though he also produces drawings, bronzes, and mixed-media sculptures, clay is the primary material through which he explores his own body, the work of artists, thinkers, and authors he admires, and the places close to his heart. Gauguin’s ceramic works sparked his enduring fascination with this earthy medium, which he describes as “a sculptural material [that] reflects any physical gesture you can apply to it…It solidifies touch.” In earlier works, he foregrounded this physicality by tasting, biting, and squeezing clay into sensuous, semi-abstract forms. In more representational pieces, Lord pays homage to artists including Monet, Cézanne, Picasso, and Gauguin, who inspire him to refract his own vision of the world through art.

British, b. 1950, Rochdale, United Kingdom, based in New York, New York