Artist: Kathy Dalwood

Click on images to enlarge. Size includes any frame.

Atlanta Girl M00o93H7pQ09L8X1t49cHY01Z5j4TT91fGfr Artist Painter Union Art Gallery Edinburgh Scotland UK

'Atlanta Girl'
Concrete re-cast, h: 26cm (inc. base)
Sold

Button Man M00o93H7pQ09L8X1t49cHY01Z5j4TT91fGfr Artist Painter Union Art Gallery Edinburgh Scotland UK

'Button Man'
Concrete re-cast, h: 35cm (inc. base)
Price: £200

Button Man - detail M00o93H7pQ09L8X1t49cHY01Z5j4TT91fGfr Artist Painter Union Art Gallery Edinburgh Scotland UK

'Button Man - detail'
Concrete re-cast, h: 35cm (inc. base)
Price: £200

Ghent Boy M00o93H7pQ09L8X1t49cHY01Z5j4TT91fGfr Artist Painter Union Art Gallery Edinburgh Scotland UK

'Ghent Boy'
Concrete re-cast, h: 32cm (inc. base)
Price: £175

Ghent Boy - detail M00o93H7pQ09L8X1t49cHY01Z5j4TT91fGfr Artist Painter Union Art Gallery Edinburgh Scotland UK

'Ghent Boy - detail'
Concrete re-cast, h: 32cm (inc. base)
Price: £175

Marie Antoinette M00o93H7pQ09L8X1t49cHY01Z5j4TT91fGfr Artist Painter Union Art Gallery Edinburgh Scotland UK

'Marie Antoinette'
Concrete re-cast, h: 26cm (inc. base)
Sold

Marie Antoinette - detail M00o93H7pQ09L8X1t49cHY01Z5j4TT91fGfr Artist Painter Union Art Gallery Edinburgh Scotland UK

'Marie Antoinette - detail'
Concrete re-cast, h: 26cm (inc. base)
Sold

West Side Girl M00o93H7pQ09L8X1t49cHY01Z5j4TT91fGfr Artist Painter Union Art Gallery Edinburgh Scotland UK

'West Side Girl'
Concrete re-cast, h: 33cm (inc. base)
Price: £200

West Side Girl - detail M00o93H7pQ09L8X1t49cHY01Z5j4TT91fGfr Artist Painter Union Art Gallery Edinburgh Scotland UK

'West Side Girl - detail'
Concrete re-cast, h: 33cm (inc. base)
Price: £200

In this on-going collection, found, mass-produced plaster and ceramic figurines – mostly post-war – are transformed and monumentalized through the process of re-casting in industrial black concrete. In the transformation, the whimsicality of the originals is replaced by a weighty solemnity, reminiscent of 18th and 19th century public sculpture, a reference further emphasised by the monochrome medium - imitative of bronze and stone memorial statues - and by their placement on monolithic-looking plinths.  The figures assume a new identity without their coloured and decorative regalia, becoming ghosts of their former selves.

Evidence of seams, mould lines and flashing characteristic of the mould-making and casting process and evocative of large-scale civil engineering projects, are deliberately retained, giving the figures a rough rawness, again at odds with the delicate, carefully detailed originals.  Placed in groups or ‘tableaux’ the figures seem to engage with each other, despite the variations in scale, and a strange rapport and sense of theatricality arises.

CV

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