P3 (First shown Arts Lab. 1970)
Reconstructed 2010
Redrawn Landscape

Born in Buckinghamshire in 1945, Roderick Coyne studied sculpture at both St Martin’s from 1966-1969 and at the Royal College of Art from 1969-1972. He has exhibited work in various galleries across the UK including Kettles Yard Cambridge, Watershed Media Centre Bristol, Chapter Arts Cardiff, Whitechapel Open and the Royal Academy Summer Exhibition. He was a P/T Lecturer in sculpture at St Martin’s School of Art between 1972 and 1980 and was a visiting lecturer at Ravensbourne and Chelsea College of Art. He currently lives and works in London.


The idea of 'landscape', both literally and figuratively, has qualified much of my work. My early sculptures took the form of ephemeral constructions made largely with 'found' materials that were presented either inside or outside the studio. Later I began to formalise my activity by setting up dialogues between different categories of material statement which usually began with an acknowledgment of the limitations of the chosen site.

Obtaining the necessary photographic record of the work eventually resulted in the photograph challenging its subject for the status of final art-work. The technical issues involved in making a photograph finally led me to direct my attention to some of the fundamental 'black and white' oppositions embedded in conventional photography itself.

Fox Talbot's primitive optical and chemical project, with its trial-and-error history, carries profound philosophical concerns in its wake, which no amount of work with photography ever seems to exhaust. A photograph is both a memorial and a celebration of an irredeemable past moment, and unlike a sculpture, its present moment hovers on the edge of two tenses. The flat seemingly unresponsive surface of the photographic print makes its own challenge to the viewer through the discrete layers of process that support the apparent image. On a material level, It is these layers that my recent work has been addressing.

Because of the large scale of much of the work, its production entails a high degree of manual involvement which often leads to a collapse of the distinction between the darkroom and the gallery. The work is mostly made on the gallery wall, and as such, evidence of the history of its construction is present in the work. Such site-specific issues keep my recent work tethered to some of the formal concerns of my earliest sculptures.

Quoted from A&C Black's "From Floor to Sky" 2010


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