I N T E R S E C T I O N
©Richard Goldsmith 2015
INTERSECTION - ORIGINS
New work for 2015. This work uses a pipe as a metaphor of transition. The two discrete sections appear as being extracted from something altogether bigger. Access points are present, one open, one closed and a polished reflective pipe moves between the two extracted blocks. Part of the external structure of the pipe is visible in the work. This wouldn’t normally be seen and this opens up the work to the viewer to consider what is not normally on display. The work could be seen as exploring the ideas of transition.
H125cm x W85cm x D65cm
New work for 2015. This work uses a pipe as a metaphor of transition. The two discrete sections appear as being extracted from something altogether bigger. Access points are present, one open, one closed and a polished reflective pipe moves between the two extracted blocks. Part of the external structure of the pipe is visible in the work. This wouldn’t normally be seen and this opens up the work to the viewer to consider what is not normally on display. The work could be seen as exploring the ideas of transition.
H125cm x W85cm x D65cm
C O M M U N I C A T I O N
©Richard Goldsmith 2015
D25xW51xH51cm
D I S C L O S U R E ( 2 )
©Richard Goldsmith 2014
I N S E A R C H O F T H E S A C R E D A N D D I V I N E
©Richard Goldsmith 2014
IN SEARCH OF THE SACRED AND DIVINE - ORIGINS
Inspired by Allegri's Miserere Mei, In Search of The Sacred and Divine is a meditative work and contains excerpts of the words sung by the two part choir within. The version of the Miserere Mei sung by The Sixteen is one of the prime sources of inspiration in the work. The individual sections, like those used to create the supporting structure within a tunnel or point of access , has long been of interest and here are used to create a whole from individual elements.
D35xW35xH20cm
Inspired by Allegri's Miserere Mei, In Search of The Sacred and Divine is a meditative work and contains excerpts of the words sung by the two part choir within. The version of the Miserere Mei sung by The Sixteen is one of the prime sources of inspiration in the work. The individual sections, like those used to create the supporting structure within a tunnel or point of access , has long been of interest and here are used to create a whole from individual elements.
D35xW35xH20cm
D I S C L O S U R E ( 1)
©Richard Goldsmith 2014
Pipe Section
The outer shell has been left as cast, the contrast this gives acts as a foil to the internal coloured and polished elements. There is simplicity in the form and complexity within.
H12xW12xD22 cm
C A P S U L E ( Work In Progress )
©Richard Goldsmith 2014
T W I N - E N C A S E D
©Richard Goldsmith 2014
Twin Encased - Origins
Cast hemisphere, cut and recast into 2 twin blocks, each encased in polished pewter. A return the theme that this piece has been cut from something larger, the internal parts not visible until the cut within is made.
H23xW18xD18 cm
Cast hemisphere, cut and recast into 2 twin blocks, each encased in polished pewter. A return the theme that this piece has been cut from something larger, the internal parts not visible until the cut within is made.
H23xW18xD18 cm
W H E N H A R B O U R E D
©Richard Goldsmith 2014
W H E N H A R B O U R E D - Origins
The form for this piece is inspired by the large concrete structures used to defend the land from the sea. Arrays of the monolithic tetrads stretch out into the ocean creating harbours and protecting the land. Shifting, shaping, eroding, containing an inner life and energy.
Each tetrad measures 20x20x15cm
F O U R B L O C K S - R H Y T H M V E R T
©Richard Goldsmith 2014
Four Blocks Rhythm Vert - Origins
Taken from some pastel drawings I had done some years ago I have taken the theme into small 3D form. 4 blocks rich in colour cut from a single cast with embedded coloured hemisphere and polished. Rearranged in various ways the individual elements come together to represent a whole, or a path, a rhythmic passage or a separation. I like the suggestion that these sections have been extracted from something larger.
B I N A R Y R E L I C
©Richard Goldsmith 2014
Binary Relic - Origins
The Binary Relic is a combination of several themes brought together in one piece. It may well be based around the ideas of a quest for understanding I cannot say for sure, but, as the piece embodies a sense of the ideas it is not the easiest task to find the words to define it. I made a few small studies to trial the concept of something concealed beneath the surface and at the same time partially visible. From these small maquettes the idea developed to contain the compression plates at either end of the piece and the encryption etched into the surfaces. The end plates provide a turning movement and bind the two main blocks together in an apparent tension. All the time the compression plates appear to squeeze the centre binary section which is part visible, disappearing beneath the surface of the two blocks. Perhaps there is more to see it’s not clear. The threaded turning mechanisms on the two ends appear to contain a code which could be a cipher providing a possible key to unlock and release the pressure. Subsequently, the centre section and the secrets contained may be revealed. There is an engineered quality and a mystical element to the work and perhaps there is more to be revealed.
The Binary Relic is a combination of several themes brought together in one piece. It may well be based around the ideas of a quest for understanding I cannot say for sure, but, as the piece embodies a sense of the ideas it is not the easiest task to find the words to define it. I made a few small studies to trial the concept of something concealed beneath the surface and at the same time partially visible. From these small maquettes the idea developed to contain the compression plates at either end of the piece and the encryption etched into the surfaces. The end plates provide a turning movement and bind the two main blocks together in an apparent tension. All the time the compression plates appear to squeeze the centre binary section which is part visible, disappearing beneath the surface of the two blocks. Perhaps there is more to see it’s not clear. The threaded turning mechanisms on the two ends appear to contain a code which could be a cipher providing a possible key to unlock and release the pressure. Subsequently, the centre section and the secrets contained may be revealed. There is an engineered quality and a mystical element to the work and perhaps there is more to be revealed.
S O H O B L O C K
©Richard Goldsmith 2014
Soho Block - Origins and Revisiting
There is a manhole cover that can be seen in several locations in Soho, London. Manhole covers have been of interest to me for many years, starting with a cover in Farringdon Road, London that had a cast iron frame with worn wooden internal segments. I remember thinking that wood was an unusual material to use but the wear on the blocks and the contrast of materials sowed a seed which I would bring into reality many years later. The Soho manhole cover was again another that grabbed me on passing it at the end of Denmark Street in Soho. Something about the size and scale, the circular layout had a resonance, a settled, peaceful and quiet presence. It can be likened to the Mandalas created by followers of the Buddhist faith. The mandala is a very balanced, circular symbol, mystical in nature and used to focus attention in a sacred space. I have in the past cast a small concrete version of the cover and housing ( See Small Works ) but the miniature metal version has been in the sketchbook for many years before becoming a physical entity and contained in the block form. The Soho manhole in this piece acts as an entry point to an inner chamber, a part of something altogether greater. At times we see only a small part of something, there is perhaps something greater within. Descending through the manhole to the reflective surfaces of the central tunnel, a path is revealed and in the both ends are open to see within. Patterns appear on the both sides of the tunnel; a modern hieroglyph perhaps? What leads us in this descent into the space below, through this gateway which is perhaps symbolic of the human spiritual journey?
There is a manhole cover that can be seen in several locations in Soho, London. Manhole covers have been of interest to me for many years, starting with a cover in Farringdon Road, London that had a cast iron frame with worn wooden internal segments. I remember thinking that wood was an unusual material to use but the wear on the blocks and the contrast of materials sowed a seed which I would bring into reality many years later. The Soho manhole cover was again another that grabbed me on passing it at the end of Denmark Street in Soho. Something about the size and scale, the circular layout had a resonance, a settled, peaceful and quiet presence. It can be likened to the Mandalas created by followers of the Buddhist faith. The mandala is a very balanced, circular symbol, mystical in nature and used to focus attention in a sacred space. I have in the past cast a small concrete version of the cover and housing ( See Small Works ) but the miniature metal version has been in the sketchbook for many years before becoming a physical entity and contained in the block form. The Soho manhole in this piece acts as an entry point to an inner chamber, a part of something altogether greater. At times we see only a small part of something, there is perhaps something greater within. Descending through the manhole to the reflective surfaces of the central tunnel, a path is revealed and in the both ends are open to see within. Patterns appear on the both sides of the tunnel; a modern hieroglyph perhaps? What leads us in this descent into the space below, through this gateway which is perhaps symbolic of the human spiritual journey?
See this work in a 'Spin' image at http://www.working-images.co.uk/spin-2/artwork
7 T E E T H
©Richard Goldsmith 2014
Concrete, Pewter, Board and Paper L 21 D 21 H10 cm
Concrete, Pewter, Board and Paper L 21 D 21 H10 cm
7 T E E T H - Origins
Based on a German manhole with a toothed cover housing. The symbolic balance offered by the housing led to the idea being used in this piece, with the cover being symbolic of concealment and subsequent revelation. The seven teeth bite into the surrounding material and firmly secure the housing from any movement. Seven possesses a mystical air; Prime number, distinct notes from the musical scale, number of days in a week, the seven paths to heaven in Egyptian mythology. The list goes on. In this piece 7 provides both strength and mystical balance.
The cover itself is a geometric design, fabricated from a metal casting with individual elements cut from etched sheet metal, soldered in position and aged. The combination of etched words suggests a single piece of text which has been disbursed making a curious cipher, suggesting something to decode.
Removing the heavy cast manhole cover reveals a polished reflective chamber, at the base of which is a further polished metal cover bolted in an off-centred position using nine bolts. Words around the base of hemispherical cover are reflected in the sides of the chamber and can each be seen from different viewpoints. The words read ‘Contains – Harbour – Within’ and suggest something further inside. The piece contains something within this inner chamber but it is neither visible, nor easily accessible.
There is an etched panel of text set into the central spine of the box casing. The text reveals part of the words from the Robert Frost poem The Road Not Taken. Focus is drawn specifically to the words ‘and I took the one less travelled by’ written in the hand of the artist. The response to this part of the piece is perhaps one of choices, paths and a journey into growth and ourselves.
The main black block piece can be removed – akin to a cut section from something larger. The polished base of the inner chamber is visible from the underside, but again, it is not accessible.
The block is preserved in a box and when closed is confined in a plain white casing which gives away nothing of its contents. The means of opening are not initially obvious.
7 Tooth Manhole - Boxed Concrete, Pewter, Board and Paper L 21 D 21 H10 cm
Based on a German manhole with a toothed cover housing. The symbolic balance offered by the housing led to the idea being used in this piece, with the cover being symbolic of concealment and subsequent revelation. The seven teeth bite into the surrounding material and firmly secure the housing from any movement. Seven possesses a mystical air; Prime number, distinct notes from the musical scale, number of days in a week, the seven paths to heaven in Egyptian mythology. The list goes on. In this piece 7 provides both strength and mystical balance.
The cover itself is a geometric design, fabricated from a metal casting with individual elements cut from etched sheet metal, soldered in position and aged. The combination of etched words suggests a single piece of text which has been disbursed making a curious cipher, suggesting something to decode.
Removing the heavy cast manhole cover reveals a polished reflective chamber, at the base of which is a further polished metal cover bolted in an off-centred position using nine bolts. Words around the base of hemispherical cover are reflected in the sides of the chamber and can each be seen from different viewpoints. The words read ‘Contains – Harbour – Within’ and suggest something further inside. The piece contains something within this inner chamber but it is neither visible, nor easily accessible.
There is an etched panel of text set into the central spine of the box casing. The text reveals part of the words from the Robert Frost poem The Road Not Taken. Focus is drawn specifically to the words ‘and I took the one less travelled by’ written in the hand of the artist. The response to this part of the piece is perhaps one of choices, paths and a journey into growth and ourselves.
The main black block piece can be removed – akin to a cut section from something larger. The polished base of the inner chamber is visible from the underside, but again, it is not accessible.
The block is preserved in a box and when closed is confined in a plain white casing which gives away nothing of its contents. The means of opening are not initially obvious.
7 Tooth Manhole - Boxed Concrete, Pewter, Board and Paper L 21 D 21 H10 cm
S O H O S T U D Y & O T H E R S T U D Y P I E C E S
©Richard Goldsmith 2014
Soho Study & Other Studies - Purpose
In the case of the Soho Study, the small works’ purpose was to act as a template for the larger 7 Tooth piece. I used the piece to trial the casting-in of pre-fabricated metal elements and finishing and polishing the work. Beneath the cover there is a chamber with words etched into the walls. The base is a polished hemisphere which reflects the image of the observer back at themselves connecting them to the work and inviting an element of self consideration. The main block is boxed in white flap style opening case which opens to reveal the words ‘Come Back To Me’ etched into a metal plate embedded in the central spine of the case. The template and operation for the case was trailed and resolved during construction. The box when closed presents a pure white cube giving no idea of the contents which opens to reveal an inner piece with further layers to unearth. Although a study piece, the Soho piece has a sacred, mystical sense all of it’s own.
Shown here is the little brother of the large Binary Relic above. Also are 3 studies for Split Stones, cut and divided and with etched metalwork within.
In the case of the Soho Study, the small works’ purpose was to act as a template for the larger 7 Tooth piece. I used the piece to trial the casting-in of pre-fabricated metal elements and finishing and polishing the work. Beneath the cover there is a chamber with words etched into the walls. The base is a polished hemisphere which reflects the image of the observer back at themselves connecting them to the work and inviting an element of self consideration. The main block is boxed in white flap style opening case which opens to reveal the words ‘Come Back To Me’ etched into a metal plate embedded in the central spine of the case. The template and operation for the case was trailed and resolved during construction. The box when closed presents a pure white cube giving no idea of the contents which opens to reveal an inner piece with further layers to unearth. Although a study piece, the Soho piece has a sacred, mystical sense all of it’s own.
Shown here is the little brother of the large Binary Relic above. Also are 3 studies for Split Stones, cut and divided and with etched metalwork within.
F L O A T I N G S T O N E
©Richard Goldsmith 2012
Floating Stone - Commission
This commission piece came from a request from a client to create a piece using the hemispheres bringing focus to a central split stone.
This commission piece came from a request from a client to create a piece using the hemispheres bringing focus to a central split stone.
All work and Images are copyright of the artist ©2014
