HYLTON NEL FOR USE AND DISPLAY. the fine art society

Transcription

1 HYLTON NEL FOR USE AND DISPLAY the fine art society

2 Dedicated to the Memory of Bernard Wilke

3 The Fine Art Society Selling art and design since New Bond Street London W1S 2JT +44 (0) For sales and enquiries, please contact: Patrick Duffy: Please note that all works will be available for sale on Tuesday 16th May 2017.

4 Introduction For Hylton Nel, there is no colour, shape, glaze or decoration that is incidental or without significance. There is always a reference in the history of art and the decorative arts which starts a conversation with him, some aspect of some object that his curiosity and lifelong spirit of enquiry then transmutes into his own work. Many of his references and interests, spanning thousands of years of creativity, may be lost on us because we often do not have the visual language to converse with the subtle considerations that consume Nel and artists in the ancient traditions of pottery and ceramics. We may admire them with the aesthetic sensibilities of our contemporary times but invariably we are only seeing an aspect, a layer, a consideration of the piece that Nel is seeing. One becomes very aware of this whenever new works arrive at the gallery, and we call him to share our thoughts and hear his, and one ends the conversation amused and in awe of his descriptions of the works, which we glimpse but do not see. His inspiration, as he explains, is a sequence of inspirations. From an existing piece, historic or mine, a new shape or pattern or colour inspires me. It could be an Imari plate from a good period, late 17th or early 18th century with a blue outside and the iron-red and gold in addition to the blue on the inside, and a small Ming period peasant bowl with a blue outside and blue-and-white inside. I find little aspects of somethings able to seed another whole batch of things. Integral to his creative impulses is his own collection of ceramics, both Oriental and European. It is a scholar s collection in that there are some things he finds quite ugly or not wholly beautiful but they may have some corner or some patch which has some significance that can be a source of inspiration. They all have some use for me from different periods of Chinese stuff I have mostly very humble examples of stuff, or shards, which is sufficient to synthesise and get something out. His home is replete with books, new shelves are always been accommodated, and he has an intimate knowledge of his library yet it has always been important that he is able to hold something in his hands and turn it over and around, and only then it becomes real for him. I look at pictures in books but I need to have some actual examples of things and then it is for me to try and make something which is equivalent that I can accept as being real in the sense that I take those things to be real. In this sense Nel speaks of trying to make work that comes as naturally as drinking a cup of tea. I am trying to get my ceramics to be like part of life, a gesture, like sitting down on a chair, or setting a table or frying an egg. What seems natural is what I am trying for, or in other words, the idea of things which are born not made is something I think about quite often. That is what I see in a lot of the ceramics that I admire they seem just to be so I try to make things that are just there. The fact that I use the things that I make every day helps me to anchor it in reality. It is not in our culture in this country to go and buy regional ceramics made by a local potter because machines and factories have taken over. For me it is important to make things that are real and that would continue to be real. His aesthetic sensibility is one not only of usefulness but also of humility. His gestures are quiet and unassuming, and the forms are functional and respectful of the uses they may have. He talks beautifully about vases that would be able to behave with dignity, even if it had no flowers in, but when you put flowers in, it must not be shouting out about itself, it must be helping the flowers to do their thing. I think it is one of the more difficult things to make. It is for this reason that Hylton has entitled this exhibition For Use and Display, recalling the Chinese traditions of creating ceramics that serve both purposes with poise rather than creating ornamental and decorative pieces whose functionality is compromised by overt aesthetic proclamations. The inherent humility comes to fore in his deliberations about even signing his works. For a while, he did not even initial his pieces because it became such a burden to put my name on everything. A lot of the things I look at and admire have got no names on. I suppose it is trying to lose oneself in the universe, trying to just be a part of it without drawing specific attention to oneself. Yet he has accepted that this anonymity is unrealistic in a world of collectors, and HN and a date is once again inscribed on the bases of his works. The only ornamental pieces he occasionally makes are cats which Nel sees as portraits and self-portraits. Instead of being blatant and making people, I do these cats. They are also a kind of shape that has been used as an ornament for a long time. From another perspective, being gay is a sort of minority position and at some levels one is not quite what one should be, and so another reason why I make cats is to try and fit into the world because such ornaments seem like regular things. But they are not that regular! His cats may have papal shoes if made at the time of election of Pope Francis or inscribed with cryptic rude words if a politician is irritating Nel, or they may be a little coy and flirtatious if Nel maybe feels like that on a certain day. The alchemy that occurs in firing ceramics is revered by Nel because the outcome is always a surprise, even after 50 years of constantly experimenting with clays and glazes and temperatures. As he says, I am thrilled every time I get something out the kiln and then after a very short time I think what was that about?! It is like sex you can have sex, a one night stand, a lovely lovely lovely oh fuck Then sometimes years later I look at old work and am delighted to see it and think it is a pity I cannot do it anymore! As a result, he started gathering an archive and collection of his own work which also serves as constant prompts in his creative process. The alchemy of any firing means that at times he turns his own works into shards because they are not real in his eyes and do not have the quiet presence that gives them a reason to be in the world. He has learnt that at the time of firing his emotions are too volatile to trust and now he leaves them to stand around until they assure him of their dignity. Nel has a long history with The Fine Art Society dating back to the early 1990s when Andrew McIntosh Patrick collected and advocated his work. The connections that collectors made to his work in those years have continued across continents, and he is very pleased to continue those conversations again through the gallery with this exhibition in May And when these collectors have come to the end of their lives, and the works get dispersed, Nel would be very pleased if the pieces ended up in a junk shop where they may be quite interesting to someone, with nobody to speak for it. As he says, If it is just there and someone thinks Well, I ll take this home, that would be a very satisfying thing. Michael Stevenson

5 1. Wise Old Hare on Yellow Vase /4 x 8 1/2 inches (20 x 21 cm)

6 Alternative view 2. Yellow Vase x 5 7/8 inches (25.5 x 15 cm) 3. Ahmed Kathrada Memorial Plates , a set of nine each 2 x 10 1/4 inches (5 x 26 cm) (9)

7 4. The Yellow Vase x 4 3/4 inches (23 x 12 cm)

8 Blue Birds on a Yellow Vase /2 x 4 3/4 inches (24 x 12 cm) 6. Antwerp, 1967, Plate I 7. Antwerp, 1967, Plate II 8. Antwerp, 1967, Plate III 9. Antwerp, 1967, Plate IV 10. Antwerp, 1967, Plate V 11. Antwerp, 1967, Plate VI 12. Antwerp, 1967, Plate VII 13. Antwerp, 1967, Plate VIII 14. Antwerp, 1967, Plate IX 15. Antwerp, 1967, Plate X (Not illustrated) each 2 x 9 7/8 inches (5 x 25 cm)

9 Alternative view 16 Jack and Pat Riley, Vase /8 x 5 1/2 inches (22 x 14 cm) 17. A Naked Man on a Yellow Vase /8 x 7 7/8 inches (27 x 20 cm)

10 18. Lined Companion Vases , two vases each 9 x 5 7/8 inches (23 x 15) and 8 5/8 x 6 1/4 inches (22 x 16 cm) (2) 19. Red Duck Vase /8 x 6 1/8 inches (29 x 15.5 cm)

11 Alternative view 20. Flags and Lines on a Grainy Yellow Vase /8 x 4 1/8 inches (18 x 10.5 cm) 21. Rustic Yellow Vase /2 x 5 1/2 inches (24 x 14 cm)

12 The Shy Cat in a Forest, Plate I /4 x 2 3/4 inches (26 x 7 cm) 23. The Shy Cat in a Forest, Plate IV /2 x 2 3/8 inches (24 x 6 cm) 24. The Shy Cat in a Forest, Plate V /4 x 2 3/8 inches (26 x 6 cm) 24

13 25. Coral Blue Vases with Flower , two vases each 12 3/8 x 5 1/2 inches (31.5 x 14 cm) (2) 26. Small Garniture Vases , four vases Largest: 9 1/4 x 4 inches (23.5 x 10 cm); Smallest: 8 5/8 x 3 1/2 inches (22 x 9 cm) (4)

14 Alternative view 27. I Ching Flower Bowl /8 x 6 1/8 inches (8 x 15.5 cm) 28. Four Buddhas in Silence, Vase /2 x 4 3/8 inches (24 x 11 cm) 29. Four Buddhas in Red, Vase /4 x 5 1/2 inches (26 x 14 cm)

15 Alternative view Alternative view 30. Protea on a Blue Bowl /8 x 7 1/4 inches (20.5 x 18.5 cm) 31. I had a Funny Feeling Vase /8 x 5 1/8 inches (25 x 13 cm)

16 Alternative view Alternative view 32. Buttocks Vase x 5 7/8 inches (28 x 15 cm) 33. Sinister Snake /8 x 5 1/2 inches (20 x 14 cm)

17 34. Blue Peace Lily Vase /8 x 3 1/2 inches (17.5 x 9 cm)

18 Alternative view 35. Eyes Vase x 5 7/8 inches (28 x 15 cm) 36. The Vase with the Red Nipples /8 x 9 1/4 x 4 1/2 inches (19.5 x 23.5 x 11.5 cm)

19 37. Shitao Chinese Vases Glazed ceramic earthenware, two vases each 9 1/4 x 5 1/2 inches (23.5 x 14 cm) (2) 38. Blue Vase Glazed ceramic earthenware 9 7/8 x 6 3/4 inches (25 x 17 cm)

20 39. Rustic But Not Old, Vase /8 x 5 1/4 inches (25 x 13.5 cm) 40. The Ladies Companion Vases , two vases each 9 1/2 x 6 1/8 inches (24 x 15.5 cm); 10 5/8 x 5 7/8 inches (27 x 15 cm) (2)

21 41. Small Garniture Vase with Words, I Small Garniture Vase with Words, II Small Garniture Vase with Words, III Small Garniture Vase with Words, IV /4 x 4 1/8 inches (21 x 10.5 cm) 9 7/8 x 4 1/2 inches (25 x 11.5 cm) 7 1/4 x 4 inches (18.5 x 10 cm) 7 1/2 x 4 3/4 inches (19 x 12 cm)

22 Alternative view 45. The Blue Dotted Beige Vase /8 x 4 1/8 inches (22 x 10.5 cm) 46. Genesis, Vase I /4 x 5 3/4 inches (26 x 14.5 cm)

23 Alternative view 47. Flower Vase (natural) x 5 1/8 inches (28 x 13 cm) 48. Genesis, Vase II /8 x 4 3/4 inches (29 x 11 cm)

24 Alternative view Alternative view 49. Genesis, Vase III /8 x 5 1/8 inches (25 x 13 cm) 50. Genesis, Vase IV /8 x 4 3/4 inches (27 x 12 cm)

25 51. The Jaggered Tiger Lillies, Vase /8 x 5 1/4 inches (20.5 x 13.5 cm) 52. New Rain Puddles, Plates I-IX , nine plates each 1 5/8 x 10 1/4 inches (4 x 26 cm) (9)

26 Alternative view 53. The Gesture of Pompeii, I The Gesture of Pompeii, V The Gesture of Pompeii, II Queer Life Style, Vase / Glazed ceramic earthenware 15 x 6 3/4 inches (38 x 17 cm) Glazed ceramic earthenware 15 x 6 3/4 inches (38 x 17 cm) Glazed ceramic earthenware 15 x 6 3/4 inches (38 x 17 cm) Glazed ceramic earthenware 11 5/8 x 5 1/4 inches (29.5 x 13.5 cm)

27 57. Pale Paris Green Vases Lost in Red Words , two vases each 10 7/8 x 5 7/8 inches (27.5 x 15 cm) (2)

28 58. Green Spotty Cat Glazed ceramic earthenware 16 1/8 x 7 1/2 inches (41 x 19 cm) 59. Cat with Pope s Shoes Glazed ceramic earthenware 16 3/4 x 8 5/8 inches (42.5 x 22 cm)

29 60. Hidden Secrets Cat Glazed ceramic earthenware 14 3/4 x 7 1/2 inches (37.5 x 19 cm) 61. Green Twin Spotty Cats Glazed ceramic earthenware 15 x 10 7/8 inches (38 x 27.5 cm)

30 62. Cat with Upright Ears on Dark Blue Base Glazed ceramic earthenware 16 1/8 x 7 1/2 inches (41 x 19 cm) 63. Blue Spotty Cat with Upright Ears Glazed ceramic earthenware 16 3/4 x 7 1/2 inches (42.5 x 19 cm)

31 64. Black Cat with Red Heart, II Glazed ceramic earthenware 14 1/8 x 7 1/2 inches (36 x 19 cm) 65. Twin Cats Glazed ceramic earthenware 15 1/2 x 11 1/4 inches (39.5 x 28.5 cm)

32 66. Green Tree and Figures, Bowl Glazed ceramic earthenware 2 1/2 x 12 1/4 inches (6.5 x 31 cm)

33 Alternative view 67. A Game of Notes, Vase III /4 x 7 1/8 inches (31 x 18 cm) 68. A Game of Notes, Vase II /4 x 6 7/8 inches (31 x 17.5 cm)

34 Alternative view 69. A Tale of Words, Vases / Glazed ceramic marble stoneware, two vases each 9 1/2 x 5 1/8 inches (24 x 13 cm) (2) 70. Love at First Chirp, Vase /8 x 4 3/8 inches (18 x 11 cm)

35 Alternative view 71. Blue Leaves Vase Glazed ceramic 7 1/4 x 4 3/8 inches (18.5 x 11 cm) 72. Mermaids Swimming, Vase /2 x 6 1/8 inches (19 x 15.5 cm)

36 Alternative view 73. Flow of Blue Words, Plates , six plates each 2 1/2 x 10 5/8 inches (6.5 x 27 cm) (6) 74. Good Morning Blues, Vase /8 x 5 1/8 inches (25 x 13 cm)

37 Alternative view 75. Man Fishing in the Deep Sea, Vase /8 x 6 7/8 inches (32 x 17.5 cm)

38 76. Swatow-ware bowl It was sumptuous x 10 1/4 inches (10 x 26 cm) 77. Swatow-ware bowl Museums are always dusty x 10 1/4 inches (10 x 26 cm) 78. Swatow-ware bowl A conversation on Wasp Waist Bridge /4 x 10 1/4 inches (9.5 x 26 cm) Swatow-ware bowl The Bottle-gourd girl /4 x 9 7/8 inches (9.5 x 25 cm) 80. Swatow-ware bowl Wang Xi-feng sets a trap /4 x 9 5/8 inches (9.5 x 24.5 cm) 81. Swatow-ware bowl Zhen Shi-yin makes /4 x 9 5/8 inches (9.5 x 24.5 cm)

39 82. Lente in Calitzdorp, Bowl I x 7 5/8 inches (7.5 x 19.5 cm) 83. Lente in Calitzdorp, Bowl II /2 x 7 7/8 inches (9 x 20 cm) 84. Lente in Calitzdorp, Bowl III /8 x 8 1/2 inches (8 x 21.5 cm) Lente in Calitzdorp, Bowl IV /8 x 9 1/4 inches (8.5 x 23.5 cm) 86. Lente in Calitzdorp, Bowl V /8 x 9 1/4 inches (8.5 x 23.5 cm) 87. Lente in Calitzdorp, Bowl VI /2 x 9 inches (9 x 23 cm)

40 88. Thy Divine Joy, Bowl V Thy Divine Joy, Bowl VII Thy Divine Joy, Bowl VI Thy Divine Joy, Bowl II /8 x 8 7/8 inches (8.5 x 22.5 cm) 3 3/4 x 9 1/4 inches (9.5 x 25 cm) 3 3/4 x 9 1/4 inches (9.5 x 23.5 cm) 3 3/4 x 8 5/8 inches (9.5 x 22 cm)

41 Alternative view 92. Thy Divine Joy, Bowl IV /8 x 9 1/4 inches (8.5 x 23.5 cm) 93. Been Doing this for 50 Years, Vase /4 x 6 3/4 inches (26 x 17 cm)

42 Hylton Nel Born in Zambia in 1941, Nel was raised on a farm in the Northern Cape, South Africa. After studying fine art at Rhodes University, Grahamstown between 1961 and 1965, he began to work with ceramics; studying in Antwerp for two years, at Royal Academy of Fine Arts, before moving to England in 1969, where he ran an antiques shop in London. After returning to South Africa in the 70 s, Hylton took up teaching at Port Elizabeth Technikon, whilst also focusing more time on his own art. He currently lives on the outskirts of Calitzdorp, a small town in the Klein Karoo. His work is found in many collections in South Africa, including those of the Durban Art Gallery; King George VI Art Gallery, Port Elizabeth; South African National Gallery, Cape Town; Tatham Art Gallery, Pietermaritzburg; Corobrik Collection in the Pretoria Art Museum. Published by The Fine Art Society for the exhibition, Hylton Nel: For Use and Display held at 148 New Bond Street, London from 23 May - 16 June 2017 isbn Catalogue The Fine Art Society All rights reserved Designed by Patrick Duffy Printed in UK by Art Quarters Press Introduction Text Michael Stevenson Photography of works and interiors Mario Todeschini Acknowledgments The Fine Art Society would like to thank both Michael Stevenson and Marc Barben for thier assistance throughout this project. Special thanks also go to Moira Benigson and Andrew McIntosh Patrick, without whose support this exhibition would not have been possible. The Fine Art Society Selling art and design since New Bond Street London W1S 2JT +44 (0) art@thefineartsociety.com

43 The Fine Art Society Selling art and design since 1876