3. The model for EQUILIBRIUM is a proposal for a project to be
built on a large scale, either in its entirety or in selected sections.
The free standing sculptures, within the scheme, can be
constructed as separate pieces in their own right.
EQUILIBRIUM is a sculptural construction for a park-like space in
which to wander, or dream, or meditate……
4. Equilibrium.
Dimensions.
Full Size Construction:
Height: 6 metres at the heighest point.
Average height 3 meters.
Over an area of 26.5 metres x 10.5 metres
MATERIALS.
Stained glass paint on Perspex panels in oxidised Steel
Construction.
Model at 1:24 scale.
By Caroline Cary and Desmond Crowe.
21. The model for TO A TIME PAST is a proposal for a sculpture to be built
on a large scale in Montenegro.
TO A TIME PAST evokes the power of memory in the creation of
personal myth and icon.
22. Dimensions:
Full size construction: 3 metres x 2 metres on a polished
concrete base of 4 metres in diameter.
Materials:
Stained glass paint on Perspex panels in an oxidised steel
construction.
Model@ 1:24 scale
by Caroline Cary and Desmond Crowe.
27. The model for EL MAR, LA MAR, is a proposal for a piece of
sculpture in homage to the Spanish poet Antonio Machado
whose poetry was so frequently concerned with the sea as a
metaphor for existence.
EL MAR, LA MAR is envisaged as standing in the new Marbella
Marina as a symbol of the cultural riches of Andalucia.
28. EL MAR, LA MAR
Dimensions.
2.9 meters high x 3.6 meters x 1.8 meters on a marble
plynth 4 meters square.
Materials.
Stained glass paint on Perspex panels in an oxidised steel
construction.
Model @ 1:24 scale by Caroline Cary and Desmond Crowe.
36. The model for THOLOS is a proposal for the Santorini Biennale.
THOLOS is an evocation of the archaic and Delphic Treasuries of
ancient Greece, and for our days become a treasure house of
memories.
37. THOLOS
Dimensions.
Full size construction.4.2 meters high, in an octagon of
approximately 9 meters wide on a polished black base.
Materials.
Stained glass paint on Perspex panels in an oxidised steel
construction.
Model @ 1:24 scale
by Caroline Cary and Desmond Crowe .
45. CAROLINE CARY.
Short C.V.
Caroline Cary has been showing her work professionally since the 1970´s in
both group and solo shows. She has shown in New York, Los
Angeles, Paris, Nairobi, London, including, the Jonathon Poole Gallery, Sue
Rankin Gallery, Austin Desmond Gallery(Devon), Christopher Hull
Gallery, Gordon Hepworth Gallery, The New Grafton Gallery, The Piers
Feetham Gallery to name but a few. In Spain she has shown in Gran
Capitán, Granada, (English Artists of the 20th Century working in Spain) and
in various other venues including Houses of Art, Marbella.
She has been represented at most London Art Fairs, The Art Fair
Islington, Chelsea Art Fair , Art on Paper at the Royal College, The Affordable
Art Fare and Art London.
Her most recent London show was in collaboration with Jim Webb and his
laser lights at Studio 106 Art Gallery in London.(February 2012).
PRIZES
1994. Winner of the Palette Prize for Mixed Media in The Art Show. London.
2001. Winner of Vital Arts Acquisition Prize for Painting for the permanent
Collection of The Royal London Hospital, Whitechapel, London.
46. Caroline Cary.
Artist’s Statement.
I live and work between Granada, Spain and Vanguard Court. Camberwell,
London having a Studio in both places.
I work with all sorts of different media, including painting on Perspex both
sides, which has led to a collaboration with Jim Webb, a laser performer and
also into making sculptural constructions, combining paintings on Perspex
with sheets of oxidised steel.
The panels of Perspex are painted on both sides which adds literal depth, very
painterly on one side, smooth and transparent on the other however what is
also interesting, is they present an entirely different aspect depending on
how they are lit. Put together in a sculptural construction, you get a
combination of forms, colours, reflections and projections changing as the
lighting affects them.
My work has evolved out of years of painting landscapes and figures. It draws
on a vast mental archive of images and the intense excitement engendered by
such experience.
continued
47. Although figuration is the starting point for my work, it is not the
primary concern. I am interested in space both literally and pictorially
and the arrangement of forms therein. I like the tension between what
can be read as figuration but is abstract and figuration that depends on
Abstract values to work.
My personal aim is to make paintings that resonate through their use
of colour and their formal qualities, opening that space in the brain
which leads to a heightened awareness of the visual world.
It has been said that Art aspires to the condition of music. I am
interested in the primacy of sight and how equally music can be
described in terms of colour.
Caroline Cary.
