TERRY HAGGERTY

Selected Works
Dec 28 – Feb 03 2017
von Bartha, S-CHANF

Installation view, 2017 von Bartha, S-chanf
Installation view, 2017 von Bartha, S-chanf
Installation view, 2017 von Bartha, S-chanf
Installation view, 2017 von Bartha, S-chanf
Part I, 2016 2 pac/powder coat on aluminum 140 x 90 x 16 cm
Part I, 2016 2 pac/powder coat on aluminum 140 x 90 x 16 cm
Part V, 2016 2 pac/powder coa on aluminum 138 x 135 x 16 cm
Part V, 2016 2 pac/powder coa on aluminum 138 x 135 x 16 cm
Part V, 2016 2 pac/powder coa on aluminum 138 x 135 x 16 cm
Part II, 2016 2 pac/powder coat on aluminum 125 x 159 x 16 cm
Part II, 2016 2 pac/powder coat on aluminum 125 x 159 x 16 cm
Part VI, 2016 2 pac/powder coat on aluminum 80 x 168 x 16 cm
Part III, 2016 2 pac/powder coat on aluminum 99 x 136 x 16 cm
Part III, 2016 2 pac/powder coat on aluminum 99 x 136 x 16 cm

Von Bartha presents an exhibition of recent works by British-born, Berlin-based artist Terry Haggerty. Featuring new metal reliefs that reach out from the wall, the show is installed at von Bartha’s S-chanf gallery, located in a converted barn in the Engadin Alps, Switzerland.

Expanding the boundaries of abstract art, Haggerty creates his own distinct visual language through the exploration of form and perception. Since the late 1990s, he has created paintings and drawings that actively engage the viewer through the recurrent use of line and colour to convey movement. In previous works, alternate light and dark lines are hand-painted on canvas, wood and – more recently – aluminium, using stencils; the lines become actively dimensional, reshaping and animating the surface they are painted on. Over time, the artist’s practice has evolved to encompass shaped canvases and three-dimensional work. Taking the pared-down language of abstraction associated with Formalism as a point of departure, Haggerty draws on influences ranging from Minimalism to Pop and Op Art.

This exhibition presents new three-dimensional wall reliefs, devoid of painted lines for the first time. In a similar vein to his previous paintings, Haggerty continues to be interested in creating work with two coinciding perspectives as ribbon-like forms fold and curve to show two contradictory views in one plane. Haggerty’s compositions appear almost impossible to the eye; in asserting a spatial presence, yet distorting illusory perceptions, these objects propose, and provoke, new ways of experiencing three-dimensionality.