Sculptural installation in a gallery space.

ARTIST ROOMS Phyllida Barlow at Turner Contemporary, 2017 © Phyllida Barlow, Photo © Tate (Marcus Leith

ARTIST ROOMS Phyllida Barlow

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Phyllida Barlow, untitled: black 3, 2014  2014

This is one of a group of twelve drawings in acrylic paint on paper made over the years 2014 and 2015 (see Tate Artist Rooms AR01233–AR01244). Each drawing is titled in the same way with its number in the sequence. Painted in thick brushstrokes, the drawings retain great spontaneity of feeling, notable in the vitality of the swirling strokes, suggesting both solid and formless shapes which are built up by combining masses and thick lines of black and white paint. Most of the drawings follow a very similar compositional scheme, depicting a central motif outlined in either white or black against a background using the opposite colour. Numbers 1, 4, 5, 9 and 11 in the sequence depict a central motif with interlocking black planes or lines set against a muddy white background. In contrast, in numbers 2, 3, 6, 7, 8, 10 and 12 the shapes are outlined in white and are placed against a black background.

© Phyllida Barlow

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untitled: upturnedhouse2, 2012

Phyllida Barlow, untitled: upturnedhouse2, 2012  2012

untitled: upturnedhouse2, 2012 2012 is a large-scale sculpture by Phyllida Barlow. The structure is made of wood, steel, polyurethane foam and cement with a surface comprising multiple panels. This enclosure-like shape appears to balance jauntily on a stack of wooden wedges made to resemble concrete, while blocks and planes also jut from the sides of the work. The panels are painted in different colours in a bold palette of intense reds and yellows combined with softer hues of pink and grey, with the inclusion of black at intervals so as to break up any sense of colour synchrony. With one corner raised in the air, the work looks as if it could possibly collapse or tip over, hardly finding its balance on the wedges that purportedly keep it in place. The title of the work – as is typical in Barlow’s practice – is an ‘all-in-one’ compound word that points to a functional structure (a house) that has been abstracted from its initial form and purpose to become an object of display now devoid of any function.

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Phyllida Barlow, untitled: black 10, 2015  2015

This is one of a group of twelve drawings in acrylic paint on paper made over the years 2014 and 2015 (see Tate Artist Rooms AR01233–AR01244). Each drawing is titled in the same way with its number in the sequence. Painted in thick brushstrokes, the drawings retain great spontaneity of feeling, notable in the vitality of the swirling strokes, suggesting both solid and formless shapes which are built up by combining masses and thick lines of black and white paint. Most of the drawings follow a very similar compositional scheme, depicting a central motif outlined in either white or black against a background using the opposite colour. Numbers 1, 4, 5, 9 and 11 in the sequence depict a central motif with interlocking black planes or lines set against a muddy white background. In contrast, in numbers 2, 3, 6, 7, 8, 10 and 12 the shapes are outlined in white and are placed against a black background.

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Untitled

Phyllida Barlow, Untitled  1995

Drawing is important in Barlow’s practice, and central to an understanding of her sculptural work. These drawings span a period of more than twenty years. They embody the same ambiguous nature as Barlow’s sculptures and represent the range of her sculptural vocabulary, which includes racks, arenas, greengrocer’s crates, crumpled canvases, strange furniture wrapped around with soft materials, and the layering, accumulation and juxtaposition of ambiguous objects and shapes. Made with thick, gestural brushstrokes, the drawings retain spontaneity of feeling and vitality. Across the group, similar marks are repeated and developed, suggesting solid forms and hinting at familiar shapes.

Gallery label, October 2013

© Phyllida Barlow

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Phyllida Barlow, Untitled  1967–9

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Phyllida Barlow, Untitled  1997

Drawing is important in Barlow’s practice, and central to an understanding of her sculptural work. These drawings span a period of more than twenty years. They embody the same ambiguous nature as Barlow’s sculptures and represent the range of her sculptural vocabulary, which includes racks, arenas, greengrocer’s crates, crumpled canvases, strange furniture wrapped around with soft materials, and the layering, accumulation and juxtaposition of ambiguous objects and shapes. Made with thick, gestural brushstrokes, the drawings retain spontaneity of feeling and vitality. Across the group, similar marks are repeated and developed, suggesting solid forms and hinting at familiar shapes.

Gallery label, October 2013

© Phyllida Barlow

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Untitled

Phyllida Barlow, Untitled  c.1990–5

Drawing is important in Barlow’s practice, and central to an understanding of her sculptural work. These drawings span a period of more than twenty years. They embody the same ambiguous nature as Barlow’s sculptures and represent the range of her sculptural vocabulary, which includes racks, arenas, greengrocer’s crates, crumpled canvases, strange furniture wrapped around with soft materials, and the layering, accumulation and juxtaposition of ambiguous objects and shapes. Made with thick, gestural brushstrokes, the drawings retain spontaneity of feeling and vitality. Across the group, similar marks are repeated and developed, suggesting solid forms and hinting at familiar shapes.

Gallery label, October 2013

© Phyllida Barlow

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Untitled

Phyllida Barlow, Untitled  1997

Drawing is important in Barlow’s practice, and central to an understanding of her sculptural work. These drawings span a period of more than twenty years. They embody the same ambiguous nature as Barlow’s sculptures and represent the range of her sculptural vocabulary, which includes racks, arenas, greengrocer’s crates, crumpled canvases, strange furniture wrapped around with soft materials, and the layering, accumulation and juxtaposition of ambiguous objects and shapes. Made with thick, gestural brushstrokes, the drawings retain spontaneity of feeling and vitality. Across the group, similar marks are repeated and developed, suggesting solid forms and hinting at familiar shapes.

Gallery label, October 2013

© Phyllida Barlow

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Phyllida Barlow, untitled: holed  2012

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Phyllida Barlow, untitled: black 11, 2014  2014

This is one of a group of twelve drawings in acrylic paint on paper made over the years 2014 and 2015 (see Tate Artist Rooms AR01233–AR01244). Each drawing is titled in the same way with its number in the sequence. Painted in thick brushstrokes, the drawings retain great spontaneity of feeling, notable in the vitality of the swirling strokes, suggesting both solid and formless shapes which are built up by combining masses and thick lines of black and white paint. Most of the drawings follow a very similar compositional scheme, depicting a central motif outlined in either white or black against a background using the opposite colour. Numbers 1, 4, 5, 9 and 11 in the sequence depict a central motif with interlocking black planes or lines set against a muddy white background. In contrast, in numbers 2, 3, 6, 7, 8, 10 and 12 the shapes are outlined in white and are placed against a black background.

© Phyllida Barlow

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Phyllida Barlow, untitled: black 4, 2014  2014

This is one of a group of twelve drawings in acrylic paint on paper made over the years 2014 and 2015 (see Tate Artist Rooms AR01233–AR01244). Each drawing is titled in the same way with its number in the sequence. Painted in thick brushstrokes, the drawings retain great spontaneity of feeling, notable in the vitality of the swirling strokes, suggesting both solid and formless shapes which are built up by combining masses and thick lines of black and white paint. Most of the drawings follow a very similar compositional scheme, depicting a central motif outlined in either white or black against a background using the opposite colour. Numbers 1, 4, 5, 9 and 11 in the sequence depict a central motif with interlocking black planes or lines set against a muddy white background. In contrast, in numbers 2, 3, 6, 7, 8, 10 and 12 the shapes are outlined in white and are placed against a black background.

© Phyllida Barlow

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Phyllida Barlow, untitled: holedgroup  2012

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Phyllida Barlow, untitled: black 12, 2015  2015

This is one of a group of twelve drawings in acrylic paint on paper made over the years 2014 and 2015 (see Tate Artist Rooms AR01233–AR01244). Each drawing is titled in the same way with its number in the sequence. Painted in thick brushstrokes, the drawings retain great spontaneity of feeling, notable in the vitality of the swirling strokes, suggesting both solid and formless shapes which are built up by combining masses and thick lines of black and white paint. Most of the drawings follow a very similar compositional scheme, depicting a central motif outlined in either white or black against a background using the opposite colour. Numbers 1, 4, 5, 9 and 11 in the sequence depict a central motif with interlocking black planes or lines set against a muddy white background. In contrast, in numbers 2, 3, 6, 7, 8, 10 and 12 the shapes are outlined in white and are placed against a black background.

© Phyllida Barlow

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Phyllida Barlow, untitled: black 5, 2015  2015

This is one of a group of twelve drawings in acrylic paint on paper made over the years 2014 and 2015 (see Tate Artist Rooms AR01233–AR01244). Each drawing is titled in the same way with its number in the sequence. Painted in thick brushstrokes, the drawings retain great spontaneity of feeling, notable in the vitality of the swirling strokes, suggesting both solid and formless shapes which are built up by combining masses and thick lines of black and white paint. Most of the drawings follow a very similar compositional scheme, depicting a central motif outlined in either white or black against a background using the opposite colour. Numbers 1, 4, 5, 9 and 11 in the sequence depict a central motif with interlocking black planes or lines set against a muddy white background. In contrast, in numbers 2, 3, 6, 7, 8, 10 and 12 the shapes are outlined in white and are placed against a black background.

© Phyllida Barlow

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Phyllida Barlow, untitled: torque, 2015  2015

untitled: torque, 2015 2015 is a hanging sculpture, at the heart of which is a spiraling armature made of steel that appears to be turning endlessly around a metal axis. The armature is covered with a tangle of various materials such as polystyrene, cement, fabric and tape which have been painted in black, reds, pinks and oranges, colours that are characteristic of Barlow’s distinctive palette. The work is attached to a metal support mounted on the wall and it appears to be suspended in space, its linear shape resembling a knot or a scribble. Many of Barlow’s titles are descriptive of the physical action carried out to give shape to the materials used, and this is the case with this work, torque being the tendency of a force to rotate an object about an axis. Just as a force is a push or a pull, torque can be thought of as a twist to an object and, used in this context, it defines the physical shape that the sculpture has been given.

© Phyllida Barlow

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Untitled

Phyllida Barlow, Untitled  1997

Drawing is important in Barlow’s practice, and central to an understanding of her sculptural work. These drawings span a period of more than twenty years. They embody the same ambiguous nature as Barlow’s sculptures and represent the range of her sculptural vocabulary, which includes racks, arenas, greengrocer’s crates, crumpled canvases, strange furniture wrapped around with soft materials, and the layering, accumulation and juxtaposition of ambiguous objects and shapes. Made with thick, gestural brushstrokes, the drawings retain spontaneity of feeling and vitality. Across the group, similar marks are repeated and developed, suggesting solid forms and hinting at familiar shapes.

Gallery label, October 2013

© Phyllida Barlow

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Untitled

Phyllida Barlow, Untitled  2006

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Untitled (Yellow Rack)

Phyllida Barlow, Untitled (Yellow Rack)  2006

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Phyllida Barlow, Untitled  c.1980–5

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Phyllida Barlow, untitled: awnings, 2012  2012

untitled: awnings, 2012 2012 comprises a series of seven wedge-shaped sculptural forms, jutting out from the wall above head height in a densely packed row. The upper face of each is flat and slopes down from the wall, and the underside is open, resembling a canopy or awning, which appears to have been made from roughly hewn concrete slabs. Each form has been created with a steel frame and polystyrene sheet, over which polyurethane foam, cement scrim and sand have been applied, and then varnished.

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untitled: brokenstage/hangingcontainer, 2012/2013

Phyllida Barlow, untitled: brokenstage/hangingcontainer, 2012/2013  2012–3

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Phyllida Barlow, untitled: black 6, 2015  2015

This is one of a group of twelve drawings in acrylic paint on paper made over the years 2014 and 2015 (see Tate Artist Rooms AR01233–AR01244). Each drawing is titled in the same way with its number in the sequence. Painted in thick brushstrokes, the drawings retain great spontaneity of feeling, notable in the vitality of the swirling strokes, suggesting both solid and formless shapes which are built up by combining masses and thick lines of black and white paint. Most of the drawings follow a very similar compositional scheme, depicting a central motif outlined in either white or black against a background using the opposite colour. Numbers 1, 4, 5, 9 and 11 in the sequence depict a central motif with interlocking black planes or lines set against a muddy white background. In contrast, in numbers 2, 3, 6, 7, 8, 10 and 12 the shapes are outlined in white and are placed against a black background.

© Phyllida Barlow

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Phyllida Barlow, untitled: black 8, 2015  2015

This is one of a group of twelve drawings in acrylic paint on paper made over the years 2014 and 2015 (see Tate Artist Rooms AR01233–AR01244). Each drawing is titled in the same way with its number in the sequence. Painted in thick brushstrokes, the drawings retain great spontaneity of feeling, notable in the vitality of the swirling strokes, suggesting both solid and formless shapes which are built up by combining masses and thick lines of black and white paint. Most of the drawings follow a very similar compositional scheme, depicting a central motif outlined in either white or black against a background using the opposite colour. Numbers 1, 4, 5, 9 and 11 in the sequence depict a central motif with interlocking black planes or lines set against a muddy white background. In contrast, in numbers 2, 3, 6, 7, 8, 10 and 12 the shapes are outlined in white and are placed against a black background.

© Phyllida Barlow

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Phyllida Barlow, untitled: black 1, 2014  2014

This is one of a group of twelve drawings in acrylic paint on paper made over the years 2014 and 2015 (see Tate Artist Rooms AR01233–AR01244). Each drawing is titled in the same way with its number in the sequence. Painted in thick brushstrokes, the drawings retain great spontaneity of feeling, notable in the vitality of the swirling strokes, suggesting both solid and formless shapes which are built up by combining masses and thick lines of black and white paint. Most of the drawings follow a very similar compositional scheme, depicting a central motif outlined in either white or black against a background using the opposite colour. Numbers 1, 4, 5, 9 and 11 in the sequence depict a central motif with interlocking black planes or lines set against a muddy white background. In contrast, in numbers 2, 3, 6, 7, 8, 10 and 12 the shapes are outlined in white and are placed against a black background.

© Phyllida Barlow

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Phyllida Barlow, Untitled  1975

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Untitled

Phyllida Barlow, Untitled  c.1997–9

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Untitled

Phyllida Barlow, Untitled  2004

Drawing is important in Barlow’s practice, and central to an understanding of her sculptural work. These drawings span a period of more than twenty years. They embody the same ambiguous nature as Barlow’s sculptures and represent the range of her sculptural vocabulary, which includes racks, arenas, greengrocer’s crates, crumpled canvases, strange furniture wrapped around with soft materials, and the layering, accumulation and juxtaposition of ambiguous objects and shapes. Made with thick, gestural brushstrokes, the drawings retain spontaneity of feeling and vitality. Across the group, similar marks are repeated and developed, suggesting solid forms and hinting at familiar shapes.

Gallery label, October 2013

© Phyllida Barlow

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Untitled

Phyllida Barlow, Untitled  2003

Drawing is important in Barlow’s practice, and central to an understanding of her sculptural work. These drawings span a period of more than twenty years. They embody the same ambiguous nature as Barlow’s sculptures and represent the range of her sculptural vocabulary, which includes racks, arenas, greengrocer’s crates, crumpled canvases, strange furniture wrapped around with soft materials, and the layering, accumulation and juxtaposition of ambiguous objects and shapes. Made with thick, gestural brushstrokes, the drawings retain spontaneity of feeling and vitality. Across the group, similar marks are repeated and developed, suggesting solid forms and hinting at familiar shapes.

Gallery label, October 2013

© Phyllida Barlow

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Object for the television

Phyllida Barlow, Object for the television  1994

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Phyllida Barlow, untitled: black 9, 2015  2015

This is one of a group of twelve drawings in acrylic paint on paper made over the years 2014 and 2015 (see Tate Artist Rooms AR01233–AR01244). Each drawing is titled in the same way with its number in the sequence. Painted in thick brushstrokes, the drawings retain great spontaneity of feeling, notable in the vitality of the swirling strokes, suggesting both solid and formless shapes which are built up by combining masses and thick lines of black and white paint. Most of the drawings follow a very similar compositional scheme, depicting a central motif outlined in either white or black against a background using the opposite colour. Numbers 1, 4, 5, 9 and 11 in the sequence depict a central motif with interlocking black planes or lines set against a muddy white background. In contrast, in numbers 2, 3, 6, 7, 8, 10 and 12 the shapes are outlined in white and are placed against a black background.

© Phyllida Barlow

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Art in this room

untitled: black 3, 2014
Phyllida Barlow untitled: black 3, 2014 2014
untitled: upturnedhouse2, 2012
Phyllida Barlow untitled: upturnedhouse2, 2012 2012
untitled: black 10, 2015
Phyllida Barlow untitled: black 10, 2015 2015
Untitled
Phyllida Barlow Untitled 1995

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Phyllida Barlow Untitled 1967–9
Untitled
Phyllida Barlow Untitled 1997

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