- Tim Scott born 1937
- Wood, fibreglass and glass
- Object: 914 x 3048 x 914 mm
- Purchased 1970
Tim Scott b. 1937
T01212 Dulcimer 1961
Wood, fibreglass and glass, 36 x 36 x 120 (91.5 x 91.5 x 305).
Purchased from the Waddington Galleries (Gytha Trust) 1971.
Exh: Whitechapel Art Gallery, June–July 1967 (2, repr. in colour).
T01212 comprises a series of 4 low-lying forms resting on the ground and separated from each other by 4 vertical sheets of glass which arc joined together at right angles, and which divide the work into five spatial sections. The shapes approximate to geometric forms—a rough sphere from which a segment has been removed, a segment, a halved cube, a disc.
The artist told the compiler on 21 March 1972 that an important feature of T01212 was the sequence of shapes and the contrast between the sharply defined and the curved forms. Yet the sculpture also confronts the spectator as a massive whole, for the collection of forms seems to be enclosed completely together.
It is one of a group of sculptures which he made between 1961 and 1962. The first of the group was ‘Umber’ and the rest included ‘Gamboge’ 1961, ‘Shadows’ 1961, ‘Round Midnight’ 1961; ‘Peach Wheels’ 1961–2 was the last of the series. All the works were made of wood, fibreglass and sometimes glass. The sculptures were largely characterised by the stylistic influence of Brancusi and Arp in whom Scott was extremely interested at the time, having seen much of both artists’ work when he lived in Paris in 1959–61. In each work in the series one or more vertical planes separate angular or curved forms which either rest on the ground or are attached to the planes. The planes are sometimes united to form a cross-piece. In ‘Umber’ this is made of wood. However, this form is transposed into glass for ‘Dulcimer’, thereby lightening both the structure and the relationship of the forms resting on the ground.
The artist added that he does not produce either sketches or preparatory models for his sculptures.
Published in The Tate Gallery Report 1970–1972, London 1972.