DAVI D GATE S AN D H E LE N CAR NAC
Photo: David Gates
David Gates designs and makes furniture from his studio and workshop in South London. He has exhibited ext Makers’ (2011) and the ‘Jerwood Award for Contemporary Making’ (2010). Gates is a founder member of the artistThrough working collaboratively in projects such as Intelligent Trouble, Gates has found the avenues to explore m research at King’s College London focuses on the communicative practices, narratives and discourses of craft p eds.) He was a part-time senior lecturer at London Metropolitan University from 2002-2011 writing, supervising include; Taking Time; Craft and the Slow Revolution, (2009-11) Intelligent Trouble at Contemporary Applied Arts (2 San Francisco (2011) and The Tool at Hand, Milwaukee (2012).
tensively throughout the U.K. and won the prestigious British prizes ‘Wesley Barrell Craft Award for Established -led collective, Intelligent Trouble, a trans-disciplinary project exploring the idea of the social production of work. materials and processes beyond his expertise in wood, particularly textile, metal and sound. His thesis-based PhD practice. He has recently authored a chapter for the book Oral History in the Visual Arts. (Partington and Sandino, and delivering studio, workshop and theory aspects of furniture, product and craft courses. Recent exhibitions 2010), Jerwood Contemporary Makers, (2010-11), Starting Points at the Siobhan Davies Dance Studios (2010), Host,
GYC#1, 2018 Elm and Ash, scorched and pigmented, birds eye maple, cedar drawers and vitreous enamel on steel H122 x 54 W x 38 D cm ÂŁ12,600 ex. VAT
Contextualising images taken by David Gates and Helen Carnac along the Thames foreshore, London Bridge and the sugar factory opposite their river-side studio.
‘This new work is part of a continuing project that unifies our different materials and ways of making; wood/cabinet-making, and vitreous enamel/metalwork. It also draws together our personal responses to a shared interest in the industrial and agricultural landscapes of places like the Thames estuary through explorations of structure and form, and surface, patina, and decay. The resulting works vary in their obvious function or utility but all share a repertoire that responds to the sense of accidental rightness, balance, and expediency of the architecture we find in our research. The works all combine elements of chance and accident with deliberate, focussed, skilled hand-making. We regularly sift through our fieldwork images, taken largely on coastal and estuarine walks. A group emerged that all featured chanced and improvised juxtapositions of largely balanced rectilinear forms. We did not set out to take this body of photos; it came together over a number of years offering fragmentary and partial information. This coalesced and there are clear visual and formal links to a series of models and drawings made during 2016, and later 2017 that led in the first instance to a cabinet commissioned by a private collector, and subsequently these works; Littoral Chances’. David Gates and Helen Carnac
Littoral Chances I, 2017 Quarter sawn european oak, vitreous enamel on steel, bog oak, ripple sycamore, birds-eye maple, cedar and steel 110 x 74 x 34 cm
ÂŁ15,500 ex. VAT
Littoral Chances II, 2017 Quarter sawn european oak, vitreous enamel on Steel, bog oak, ripple sycamore, birds-eye maple, cedar and steel 110 x 74 x 37 cm ÂŁ17,300 ex. VAT
In a Landscape II, 2017 Vitreous enamel on mild steel, mild steel, European oak, bog oak. Three parts: 125 x 34 x 35cm; 127 x 37 x 33cm; 142 x 42 x 37cm
£19,600 ex. VAT
At Cliffe II, 2018 Steel, Quarter Sawn European Oak, Bog oak, Maple, Cedar of Lebanon 117 x 45 x 40 cm £9,700 ex. VAT
At Cliffe I, 2017 Floor standing cabinet in oak, bog oak, maple, and steel, 115 x 49 x 31 cm £8,600 ex. VAT
Wall Cabinet, 2017 Vitreous enamel on steel, Bog oak, Cedar of Lebanon Quarter Sawn European Oak, 70 x 20 x 20 cm
£10,000 ex. VAT
Gate’swork is informed by photographic and drawn fieldwork of the industrial landscape. His riverside studio sits in this zone close to the remaining Thames-side wharves and jetties and on the way to the flat landscape of the estuary. His workbench looks across to the cranes, buildings, and conveyors of the Tate & Lyle factory.
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Collect 2018 Photo: Sophie Mutevelian
SARAH MYERSCOUGH GALLERY
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