TERENCE COVENTRY vital image
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Aria 2019, Painted Aluminium Unique cm
FOREWORD Pangolin first came across Terence Coventry over thirty years ago when he called the foundry for advice regarding a bronze he was trying to cast by himself in his clifftop studio in Cornwall. Taking a mobile foundry to him, we discovered an artist whose work was imbued with a natural talent, developed in isolation, to create works of both power and tenderness. For Coventry, being an artist was not a second career choice. It was his first choice, which had been thwarted by a belligerent encounter at the Royal College of Art, that had consequently diverted him to National Service and then a successful career farming. This diversion was not wasted, as he spent the years watching with intensity and absorbing the subtle nature of the beasts and beings around him. Scrutinising the slightest adjustments of the wing of a gull changing direction mid-flight, the tilted head of a corvid in conversation, the noble sniff of a seated hound - Coventry didn’t need to study from life as the information came from within, etched onto his memory from years of looking. When Terence Coventry passed away in 2017 he left a void not only as respected friend and artist, but in the dose of energy, independent spirit and determination that we always left with after a visit to Coverack. His approach to making was immediate, urgent and highly self-disciplined, determined to catch up on the years he had been forced to set aside. It is testament to Coventry’s talent for refining form to the essence of a beast or being that the images he created feel as full of vitality today. Whilst we are thankful the work lives on, we were especially thrilled to rediscover the audio of an interview from exactly 10 years ago which has inspired this exhibition and short film, and enabled us to revisit in Coventry’s own words his passion for creating not just an interesting sculpture but a vital image. (left) Couple II 2007, Bronze Edition of 5 85 x 55 x 50 cm
polly bielecka
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Aria 2019, Painted Aluminium Unique cm
CATALOGUE
Aria 2019, Painted Aluminium Unique cm
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(left) Bird I 2010, Bronze Edition of 5 103 x 126 x 157 cm
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(right) Bird II 2010, Bronze Edition of 5 144 x 154 x 147 cm
The starting point for my interest in the bull as a subject was partially because there were bulls actually out there in the surrounding fields. Our neighbouring dairy farmers would run what they called a ‘catch bull’ for any cows that were still to be served or had been missed out by artificial insemination. Those bulls were powerful animals bursting with energy, power and hormones and I wanted to express the obvious male thrust in that animal in a vital image.
Standing Bull III 2006, Bronze Edition of 10 39 x 72 x 14.5 cm 8
Joyrider II 2008, Bronze Edition of 10 54 x 40 x 16 cm 10
Joyrider I 2008, Bronze Edition of 10 52 x 41 x 10.5 cm 11
(above) Choughs 2004, Photographic Print on Watercolour Paper Edition of 30 64 x 84 cm 12
(right) Choughs 2006, Bronze and Stainless Steel Edition of 10 61 x 98 x 59 cm
Aria 2019, Painted Aluminium Unique cm
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It’s the way those airborne forms can relate to each other and open out that I find so fascinating. Particularly with ravens, you see how they interact in their perched attitudes, the way they tilt and acknowledge each other. I might not be aware of it, but I am storing these images. When they come out (the images), I do hope that it (...) catches the attitude of that particular animal or bird I’ve observed. I think it’s something that has to be expressed.
Raven 2011, Charcoal on Paper Unique 59.5 x 84 cm 14
Hound II 2000, Bronze Edition of 7 64 x 40 x 24 cm
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Bison 2003, Bronze Edition of 10 28.5 x 55 x 12 cm 18
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Bird II 2010, Bronze Edition of 5 144 x 154 x 147 cm 21
Man Releasing Bird II 2014, Bronze Edition of 10 85 x 44 x 31 cm 22
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This kinetic sculpture was made in steel plate with two sets of bearings within its base to enable it to be driven by the wind. It is an attempt to describe the flight of swallows and swifts.
Swallow Form 2008, Bronze Edition of 10 46 x 30 x 23 cm
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Francesca’s Aria 2019, Painted Aluminium Unique 90 x 90 x 80 cm 26
Tree of Jackdaws 2010, Bronze Edition of 10 75 x 44 x 33 cm 27
Bird I 2010, Bronze Edition of 5 103 x 126 x 157 cm 28
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Standing Bull II 2001, Bronze Edition of 10 44 x 46 x 23 cm 30
Goat I 2004, Bronze Edition of 5 158 x 160 x 58 cm 32
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Couple III 2010, Bronze Edition of 5 29 x 54 x 21 cm 34
The way the surface texture is manipulated is definitely deliberate, and through experience I’ve learnt that I can alter the viewer’s perception of the form by the way the texture is applied. I spend as much time on the final surface texture of a plaster work as I do on the making - it’s a very deliberate process and its very important to me personally.
Owl III 2016, Bronze Edition of 10 62 x 37 x 21.5 cm 36
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Small Owl 2016, Bronze Edition of 12 15 x 9 x 8 cm 38
Owl 2013, Charcoal on Paper Unique 84 x 59.5 cm 39
Cuckoo 2013, Bronze Edition of 10 45 x 45 x 19 cm 40
It’s a vital image that I’m trying to produce; it’s not going to be an image that people can ignore.
Sunrise Woman Maquette 2015, Bronze Edition of 10 30 x 32 x 8 cm 42
(above) Small Torso 2016, Bronze Edition of 10 54.5 x 18 x 17.5 cm 44
(right) Torso II 2016, Bronze Edition of 10 200 x 38 x 34.5 cm
Avian Form I 1988, Bronze Edition of 9 44 x 34 x 14.5 cm 46
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(above) Horse Head 2005, Charcoal on Paper Unique 93 x 69 cm 48
(right) Horse Head Maquette I 2006, Bronze Edition of 10 50 x 19 x 14 cm
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I still have to spend a lot time farming, and as a result of it being fairly routine work - for instance driving a tractor up and down a field - I have time to refine an idea in my mind so that when I get to the making stage the imagery is largely distilled. I am not saying there are no problems to solve in the making of a sculpture, because when one starts working in three-dimensional forms, clearly one is creating problems. But the image is largely there, and what I am trying to make is set in my mind.
Bird I Maquette 2015, Bronze Edition of 10 33 x 53 x 43 cm
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(above) Horse 2005, Charcoal on Paper Unique 71.5 x 97 cm
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(right) Woman with Outstretched Arm 2009, Charcoal on Paper Unique 84 x 60 cm
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(above) Study for Gannet Head 2005, Charcoal on Paper Unique 97 x 72 cm 54
(right) Monumental Gannet Head 2010, Bronze Edition of 5 205 x 51 x 52 cm
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Joyrider III 2008, Steel Unique 57.5 x 79 x 21cm 56
Silver Jackdaw 2008, Sterling Silver Edition of 10 16 x 28 x 16.5 cm 58
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When I initially found my language I found it much easier to make animalia or birdforms by simplifying them and working in a more linear way than I did with the human form. I suppose I had a very academic training at art school and that stuck there - anatomy, life drawings; it’s sort of ingrained.
Cormorant II Maquette 2011, Bronze Edition of 10 49.5 x 27.5 x 30 cm
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Ravens c.2011, Photographic Print on Watercolour Paper Edition of 30 60 x 84 cm 62
Bull c.2008, Photographic Print on Watercolour Paper Edition of 30 60 x 84 cm 63
Bird II Maquette 2015, Bronze Edition of 10 41.5 x 41 x 45 cm 64
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(above) Couple I Maquette 2006, Bronze Edition of 10 24 x 25 x 15 cm 66
(right) Couple I 2007, Bronze Edition of 5 66 x 68.5 x 38 cm
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Two Winged Forms: Mother and Child 2013, Bronze Plate Unique 58 x 30 x 30 cm 68
Aria 2019, Painted Aluminium Unique cm
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Raven I 2006, Bronze Edition of 10 30 x 56 x 16 cm 70
Aria 2019, Painted Aluminium Unique cm
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(above) Small Swimmer 2014, Bronze Edition of 10 30 x 52 x 11 cm
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(right) Swimmer 2000, Bronze Edition of 10 50 x 66 x 10.5 cm
Farming is not that different to making sculpture. One spends a lot of time making things and solving the same sort of constructional problems. It is elemental in the same way; one may not be dealing with clay but one is dealing with earth to a large extent. I get a tremendous amount of my inspiration for subject matter from my association – for the greater part of my working life – with farming.
Boar II 1999, Bronze Edition of 5 100 x 230 x 42 cm 74
Hounds 2011, Photographic Print on Watercolour Paper Edition of 30 84 x 60 cm 76
Rooks 2006, Photographic Print on Watercolour Paper Edition of 30 90 x 61 cm 77
Avian Form Maquette 1999, Bronze Edition of 10 28 x 26.5 x 12 cm
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(above) Dog 2011, Charcoal on Paper Unique 59.5 x 84 cm 80
(right) Small Standing Dog II 2012, Bronze Edition of 10 35 x 38 x 18 cm
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Swallow Brooch 2014, Sterling Silver Edition of 20 9 x 6.2 cm 82
Spinning Piece Pendant 2014, Sterling Silver Edition of 20 6 x 4.3 cm 83
I’m very restless - always looking. We live in a beautiful place right on the edge of the cliffs and when I’m walking the dogs, often on a rough footpath, I’ll stumble over something stupid because I’m looking at birds and taking in the things that you naturally see, but also observing them more precisely. The way a bird comes out of a gliding stance (...) particularly when gulls and ravens do it, you see them going - they glide down on the thermals, just in a long straight glide and they’ll go into a spiral and its just magical, it really is. I mean you’ve just got to wish you were up with them.
Spiralling Rooks 2018, Coloured Giclée Print Edition of 25 121 x 97 cm 84
Standing Couple 2011, Bronze Edition of 10 31 x 20 x 9.5 cm 86
Aria 2019, Painted Aluminium Unique cm
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Sitting Boar Maquette 2004, Bronze Edition of 10 27 x 32 x 25 cm
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Listening Blackbird 2009, Bronze Edition of 10 17 x 28 x 18 cm
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Silver Avian Form II 2014, Sterling Silver Edition of 20 9.5 x 9 x 4 cm
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Hound I 1998, Bronze Edition of 10 35.5 x 18 x 11 cm
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(above) Rider 2018, Coloured Giclée Print Edition of 25 68.5 x 58.5 cm
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(right) Joyrider IV 2013, Bronze Edition of 10 42 x 51 x 15 cm
Jackdaw 2005, Bronze Edition of 10 21 x 32 x 21 cm 96
Aria 2019, Painted Aluminium Unique cm
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(above) Talking Couple 2006, Photographic Print on Watercolour Paper Edition of 30 55.5 x 82.5 cm 98
(right) Talking Couple 2008, Bronze Edition of 10 33 x 40 x 16 cm
Teseo 2019, Nickel Coated Brass Unique 24 x 25 x 21 cm 99
When the human figure is related to animals there is an element of fun about that, of just joy in a sense. It doesn’t have to be po-faced but there can be an element of just trying to express exhilaration, just the joy of it all. It’s sort of a fun thing - it doesn’t have to be all deadly serious does it?
Woman Releasing Bird 2014, Bronze Edition of 10 63.5 x 28 x 24 cm 100
TERENCE COVENTRY 1938 - 2017 1938 1954 1956-58 1959-61 1961 1962 1985 2017
Born, Birmingham Stourbridge School of Art, National Design Diploma Exhibited Young Contemporaries National Service Royal College of Art Started farming in West Cornwall Returned to sculpture Died at home in Cornwall
SOLO EXHIBITION 2021 2019 2017 2015 2014 2013 2012 2011 2009 2008 2006 1999
‘Terence Coventry: Vital Image’ Pangolin London ‘Terence Coventry Sculptor’ Gallery Pangolin, Glos. ‘Terence Coventry: Against the Tide’ Pangolin London ‘Terence Coventry: Sculpture and Works on Paper’ Gallery Pangolin, Glos. ‘Terence Coventry: Birds and Beasts’ Pangolin London ‘Three Decades of Sculpture and Works on Paper’ Pangolin London ‘Terence Coventry: 2D and 3D Works’ New Craftsman Gallery, St Ives ‘Hands On’ Gallery Pangolin, Glos. ‘Terence Coventry: New Work’ Pangolin London ‘Terence Coventry: Sculpture, Prints and Drawings’ Pangolin London ‘Coventry Comes to Wells’ The Bishop’s Palace, Wells ‘Monumental Bronzes’ Nature in Art Museum, Gloucester ‘Terence Coventry: Recent Sculpture & Drawings’ Gallery Pangolin, Glos. ‘Terence Coventry: Recent Sculpture’ Gallery Pangolin, Glos. ‘Terence Coventry’ The Studio, Glebe Place, London
RECENT GROUP EXHIBITIONS
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2021
‘Sculptors’ Works on Paper’ Pangolin London
2020
‘Christmas Cracker!’ Gallery Pangolin, Glos. ‘Outdoor Sculpture’ Pangolin London ‘In the Mix’ Gallery Pangolin, Glos. ‘Nature Unwrapped’ Pangolin London
2019
‘Christmas Cracker!’ Gallery Pangolin, Glos. ‘January Blues’ Gallery Pangolin, Glos.
2018
‘Christmas Cracker!’ Gallery Pangolin, Glos. ‘Human Nature’ The Bishop’s Palace, Wells ‘Sculptors’ Maquettes’ Gallery Pangolin, Glos. ‘Animal, Vegetable, Mineral’ Nature in Art Museum, Gloucester ‘Decade: Pangolin London’s 10th Anniversary’ Pangolin London ‘Fast Forward’ Gallery Pangolin, Glos.
2017
‘Christmas Cracker!’ Gallery Pangolin, Glos. ‘Out of Nature’ Newport House, Herefordshire ‘Ark’ Chester Cathedral
‘The Summer of Love, Fifty Years On’ Gallery Pangolin, Glos. ‘Fresh Air 2017’ Quenington Sculpture Trust, Glos. ‘Focus on the Figure’ Gallery Pangolin, Glos. ‘Spring Show’ Pangolin London ‘New Year, New Art’ Gallery Pangolin, Glos.
2016
‘Christmas Selected’ Pangolin London ‘Nature of the Beast’ Gallery Pangolin, Glos. ‘Jubilee’ Gallery Pangolin, Glos. ‘Summer Exhibition’ Pangolin London ‘Sculpture in the Garden’ Pangolin London ‘Sculptors’ Prints and Drawings’ Gallery Pangolin, Glos. ‘Spring Showcase’ Pangolin London ‘The Secret Garden’ Museum in the Park, Stroud
2015
‘Christmas Cracker!’ Gallery Pangolin, Glos. ‘Sculptors’ Jewellery’ Pangolin London ‘Toro’ Gallery Pangolin, Glos. ‘Lazy, Hazy, Crazy’ Gallery Pangolin, Glos. ‘Sculptors’ Prints and Drawings’ Pangolin London ‘Fresh Air 2015’ Quenington Sculpture Trust, Glos. ‘Sculptors’ Prints and Drawings’ Gallery Pangolin, Glos.
2014
‘Sculpture Showcase’ Pangolin London ‘Crucible 2’ Gloucester Cathedral ‘Mini-Crucible’ Gallery Pangolin, Glos. ‘Sculptors’ Prints and Drawings’ Gallery Pangolin, Glos.
2013
‘Christmas Show’ Pangolin London ‘Christmas Cracker!’ Gallery Pangolin, Glos. ‘Fresh Air 2013’ Quenington Sculpture Trust, Glos. ‘Sculptors’ Prints and Drawings’ Gallery Pangolin, Glos.
2012
‘Sculptors’ Drawings and Works on Paper’ Pangolin London and Kings Place Gallery ‘Soulmates’ Gallery Pangolin, Glos. ‘Sculptors Prints and Drawings’ Gallery Pangolin, Glos. ‘Best in Show’ Gallery Pangolin, Glos. ‘With the Pangolin Stamp’ Holcombe Mill, Nailsworth, Glos.
2011 2010
‘Christmas Show’ Pangolin London ‘Sculpture at Lord’s Wood’ Messum’s, London ‘Ten Years of British Sculpture’ Harold Martin Botanic Gardens, Leicester University ‘Summer Show’ Pangolin London ‘Fresh Air 2011’ Quenington Sculpture Trust, Glos. ‘Sculptors’ Prints and Drawings’ Gallery Pangolin, Glos. ‘Beast’ Pangolin London ‘Crucible – The Sculpture Show of the Decade’ Gloucester Cathedral ‘Abstract and Nature’ Hatfield House, Herts. ‘Head, Hands and Heart’ Harold Martin Botanic Gardens, Leicester University ‘Stirred for a Bird’ Gallery Pangolin, Glos. ‘Sculptors’ Prints and Drawings’ Gallery Pangolin, Glos. ‘Corvids’ Nature in Art Museum, Gloucester.
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SELECTED PUBLIC AND PRIVATE COLLECTIONS A changing selection of monumental sculptures is on permanent public display at the Terence Coventry Sculpture Park, Coverack, Cornwall. 2018 2011 2010 2008 2003 2000 1999 1997 1996 1983
‘Monumental Vital Man IV’ 81cm high, Bronze, Uniciti Sculpture Park, Mauritius. ‘Balanced Man’ 245 cm high, Bronze, privately commissioned. ‘Owl II’ 160 cm high, Bronze, John & Margaret Trail Collection, Wembley, Australia. ‘Boar II’ 100 cm high, Bronze, John & Margaret Trail Collection, Wembley, Australia. ‘Boar II’ 100 cm high, Bronze, Descordes Sculpture Park, Arles, France. ‘Monumental Avian Form’ 133 cm high, Bronze, Cass Sculpture Foundation, Chichester. ‘Charging Bull II’ 81cm high, Bronze, privately commissioned. ‘Monumental Avian Form’ 133 cm high, Bronze, Lord Peter Carrington’s Collection. ‘Unicorn’ 160 cm high, Bronze, privately commissioned. ‘An Gof’ 244 cm high, Bronze, commissioned for St Keverne, Cornwall. ‘Predator’ 59 cm high, Elm, Nature in Art Museum, Gloucester.
COMMISSIONS Bugatti Foundation, Arles, France Schiffer Sculpture Foundation, Philadelphia, USA L’Abbey Fontaine, France Nature in Art Museum, Gloucestershire Buxton, Derbyshire Ashford, Kent Soho Square, London St Keverne, Cornwall Sculpture at Goodwood, Sussex
(left) Silver Avian Form I 2014, Sterling Silver Edition of 20 11 x 17.5 x 7.5 cm (right) Terence Coventry working in his studio, 2011
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ACKNOWLEDGEMENTS We would like to thank the Stonehouse Court Hotel, Gloucestershire for kindly allowing us access to the grounds, Steve Russell Studios for the photography, and Pangolin Editions and Gallery Pangolin for their assistance.
Printed to coincide with the exhibition: Terence Coventry: Vital Image May - August 2021 Pangolin London Kings Place 90 York Way London N1 9AG T: 020 7520 1480 E: gallery@pangolinlondon.com www.pangolinlondon.com Designed by Pangolin London Printed in Gill Sans Photography by Steve Russell Studios in the grounds of Stonehouse Court Hotel, Gloucestershire www.stonehousecourt.co.uk Printed by Healeys Print Group ISBN: 978-1-9993760-7-9 © Pangolin London 2021. All rights reserved.
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Couple II (details page 3) outside the Stonehouse Court Hotel