Terry Haggerty

b. 1970 in London, England / Lives and works in Berlin, Germany

Rise and Receed, 2018 Acrylic on wood panel 260 x 140 cm 102 3/8 x 55 1/8 in
Installation view, 2018 von Bartha, Basel
Installation view, 2018 von Bartha, Basel
Deuce, 2016 Acrylic on wood 75 x 60 cm
Part II, 2016 2 pac/powder coat on aluminum 125 x 159 x 16 cm
Part V, 2016 2 pac/powder coa on aluminum 138 x 135 x 16 cm
Installation view, 2017 von Bartha, S-chanf
Torsion III, 2016 Acrylic on wood 148 x 21 cm
Modal, 2015 acrylic on wood 140 x 120 cm
Stagger stack, 2018 Acrylic on wood panel 230 x 106 cm 90 1/2 x 41 3/4 in
Applied torque II , 2016 Acrylic on wood 36 x 245 cm 14 1/8 x 96 1/2 in
Easily Lost, 2015 acrylic on wood panel 199 x 141 cm
IN BETWEEN ELEMENTS Installation view, 2011 von Bartha, S-chanf
Out of position, 2010 acrylic on canvas 142 x 120 cm
Spectrum 1 of 2, 2000 Acrylic on canvas 80 x 58.5 cm 31 1/2 x 23 1/8 in
End To End, 2006 acrylic on canvas 91 x 117 cm
Sunkist, 2001 Acrylic on canvas 110 x 80 cm 43 1/4 x 31 1/2 in
Terry Hag­gerty was born in Lon­don and stud­ied at the Chel­tenham School of Art, Glouces­ter­shire. He has exhib­ited widely at gal­leries and muse­ums around the world, includ­ing Sikkema Jenk­ins, New York; Max Het­zler, Berlin; Ham­mer Museum, Los Ange­les; Aldrich Museum, Conecti­cut; and PS1, Long Island City. Com­mis­sions include wall draw­ings for Dal­las Cow­boys Sta­dium, Munich Re, Lon­don, and pri­vate col­lec­tions in the US and Ger­many. Hag­gerty is the recip­i­ent of sev­eral awards includ­ing the For-Site foun­da­tion Award(2009), John Anson Kit­tredge Award (2003); and the Natwest Art Prize (1999). The concept of the trompe-l’oeil; the interplay between reality and illusion, has always fascinated artists. In this way, with the simple gesture of curving lines, Haggerty is able to create complex illusions, garnering both volume and depth. The artist carefully considers ambiguous forms and likenesses, to familiar indicators of space such as ledges, edges, corner and gaps. Nevertheless, the viewer is not only drawn to Haggerty's paintings as a result of the suggestion of plasticity, but also owing to their cool, smooth, machine-like surface perfection.