{"product_id":"bowl-of-fruit-1","title":"Bowl of Fruit","description":"\u003cp\u003e\u003cspan\u003eBowl of Fruit\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e1995\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan\u003eBronze\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan\u003e20 × 25 × 36 cm\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan\u003eEdition of 6\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan\u003eCast by Ken Cook\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eBowl of Fruit\u003c\/span\u003e\u003cspan\u003e belongs to the group of still life sculptures I began making in the 1990s, when fruit, flowers, vessels, fish and other familiar objects became a way of exploring the long history of still life through sculpture.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAlthough the work begins with recognisable objects, I was never interested in simply reproducing them. Each element was modelled individually and the surfaces were worked, altered and patterned before casting. Colour was equally important. The extraordinary coloured bronze patinas were developed with the caster Ken Cook, whose understanding of bronze allowed me to treat colour as an integral part of the sculpture rather than as a decorative finish.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe composition draws upon a tradition stretching from Dutch still life painting through Chardin and Cézanne, but its objects have become fully three dimensional. Grapes, pears and other fruit are brought together with folded and modelled forms so that the still life becomes something that occupies real space and can be walked around.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eJohn McDonald discussed this period of my work in the catalogue for my 1996 exhibition at Christine Abrahams Gallery in Melbourne. He described the sculptures as drawing upon an unusually wide range of visual sources, including Dutch still life, Bosch, Chardin, Cézanne, Bonnard and Picasso, as well as ancient and medieval objects encountered in museum collections.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eFor me these sources were never templates. They were points of departure. The objects were modelled from scratch and changed continually through the process of making, allowing recognisable forms to become increasingly ambiguous, physical and sculptural.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eBowl of Fruit\u003c\/span\u003e\u003cspan\u003e was later included in \u003c\/span\u003e\u003cspan\u003eKen Cook: Out of the Workshop\u003c\/span\u003e\u003cspan\u003e at Pangolin London in 2022, an exhibition celebrating the work of the distinguished bronze caster with whom I worked extensively during this period.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003c\/span\u003e\u003cspan\u003eBowl of Fruit was exhibited at Orion Sculpture Park and Gardens, the sculpture park I established outside Yass in rural New South Wales. My bronzes were installed throughout the landscape, with individual works becoming focal points within specially designed garden rooms rather than being shown in a conventional white gallery space.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe park brought sculpture into direct relationship with planting, water, changing seasons and the wider Australian landscape. Still lifes, figures, animals and flower sculptures made over the preceding two decades were shown throughout the grounds.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003c\/span\u003e\u003cspan\u003eBowl of Fruit\u003c\/span\u003e\u003cspan\u003e was exhibited in \u003c\/span\u003e\u003cspan\u003eElysium Verto: Paradise is Changing\u003c\/span\u003e\u003cspan\u003e in Los Angeles in 2018.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIts inclusion brought the sculpture back into an international exhibition context more than twenty years after it was made. A work rooted in the still life tradition and developed during my Australian period was shown again alongside later work, demonstrating the continuity of subjects and ideas that have remained important to me across several decades.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eExhibition history\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e1996\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan\u003eChristine Abrahams Gallery, Melbourne\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e1996\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan\u003eRobin Gibson Galleries, Sydney\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan\u003eStill-life Group exhibition\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e2010\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eOrion Sculpture Park and Gardens, Yass, New South Wales, Australia\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e2018\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eElysium Verto: Paradise is Changing\u003c\/span\u003e\u003cspan\u003e, Los Angeles, California, USA\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e2022\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan\u003eKen Cook: Out of the Workshop\u003c\/span\u003e\u003cspan\u003e, Pangolin London\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eLiterature\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eJohn McDonald, \u003c\/span\u003e\u003cspan\u003e“Stephanie Burns: Recent Sculpture,”\u003c\/span\u003e\u003cspan\u003e catalogue essay, Christine Abrahams Gallery, Melbourne, 1996.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eStephanie Burns (McDonald)\u003c\/span\u003e\u003cspan\u003e, exhibition catalogue, Christine Abrahams Gallery, Melbourne, 21 September–17 October 1996.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eKen Cook: Out of the Workshop\u003c\/span\u003e\u003cspan\u003e, Pangolin London, 2022.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eProvenance and records\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eBronze edition of six.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eCast by Ken Cook.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAn example numbered \u003c\/span\u003e\u003cspan\u003e1\/6\u003c\/span\u003e\u003cspan\u003e was recorded at auction by Leonard Joel, Melbourne, in 2015.\u003c\/span\u003e\u003c\/p\u003e","brand":"Stephanie Fuller Gallery","offers":[{"title":"Default Title","offer_id":41325598605384,"sku":null,"price":0.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0277\/9312\/9577\/files\/266A0815-0B86-4EE2-9C68-851A8CC99E88.png?v=1787558274","url":"https:\/\/stephaniefullergallery.com\/products\/bowl-of-fruit-1","provider":"Stephanie Fuller Gallery","version":"1.0","type":"link"}