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Through their scale, painted folds, and striped patterns, the works resemble draped cloth or fabric concealing objects beneath their surface. On closer inspection, however, it becomes clear that these apparent folds are in fact carefully constructed elements of Haggerty’s classically abstract, highly precise painting.\n",{"content":99},[],{"item":119,"alternates":206},{"title":120,"path":121,"template":122,"i18n":123,"content":125,"sorting":205},"Calendar","\u002Fen\u002Fcalendar","calendar",{"language":9,"id":124},"01KT6HTQF8PBWVDT1T1EBFP1MJ",{"entries":126},{"content":127},[128],{"id":129,"content":130},"01KT6HV0ESVZ96P703YS37MZAV",{"blocks":131},{"content":132},[133,158,182],{"id":134,"content":135},"01M255F2EQT4B9BPX97P1K553Z",{"addToCalendar":136,"colors":145,"title":152,"description":154,"id":156},{"content":137,"id":144},{"showAddToCalendar":138,"startingDate":139,"endingDate":141,"location":143},{"content":55},{"content":140},1789027387871,{"content":142},1789027387872,{"content":99},"01M255F2EWGTPD8N5X5P2EXGYZ",{"content":146,"id":151},{"backgroundColor":147,"textColor":149},{"content":148},"rgb(0, 56, 241)",{"content":150},"rgb(255, 220, 220)","01M255F2EX0J4CFNSY5WSWS7A0",{"content":153},"Andi Fischer Presentation at the Show Storage",{"content":155},"From 22 Sept– 24 Oct, 2026\n\nwith “Ship of Fools – umherirren”\n",{"content":157},"01M1K7XZNF4MGEVGWEEAS1C0XX",{"id":159,"content":160},"01KZTGZSD3QKJHYRP4XSYMC5SD",{"addToCalendar":161,"colors":169,"title":176,"description":178,"id":180},{"content":162,"id":168},{"showAddToCalendar":163,"startingDate":164,"endingDate":166,"location":167},{"content":55},{"content":165},1786522887593,{"content":165},{"content":99},"01KZTGZSD6TDJW7JSEJDSDK75B",{"content":170,"id":175},{"backgroundColor":171,"textColor":173},{"content":172},"rgba(233, 255, 83, 1)",{"content":174},"rgb(61, 0, 0)","01KZTGZSD6NM730PZHCS9M3M7F",{"content":177},"Christian Andersson: Mother Tongue",{"content":179},"From Aug 28–Oct 24, 2026\n",{"content":181},"01KTX9HKJ15HC6T9BK5WBR99JY",{"id":183,"content":184},"01KZTGR10M5345ZR016M9CFHMQ",{"addToCalendar":185,"colors":193,"title":200,"description":202,"id":203},{"content":186,"id":192},{"showAddToCalendar":187,"startingDate":188,"endingDate":190,"location":191},{"content":55},{"content":189},1786522633244,{"content":189},{"content":99},"01KZTGR10RZBHV7SPS37SDQ6T9",{"content":194,"id":199},{"backgroundColor":195,"textColor":197},{"content":196},"rgba(178, 191, 200, 1)",{"content":198},"rgb(255, 104, 245)","01KZTGR10SP97TM0JQ7VA2QHYN",{"content":201},"Francisco Sierra: Bijna een vlinder",{"content":179},{"content":204},"01KTXA0Z510T6YY38CJJ7Z2SA9",1,[],{"items":208},[209],{"title":210,"path":211,"template":212,"i18n":213,"content":214,"sorting":402},"Terry Haggerty","\u002Fen\u002Fartists\u002Fterry-haggerty","artist",{"language":9,"id":88},{"title":215,"name":216,"website":217,"representing":219,"cv":221,"image":226,"previewImage":231,"textblock":236,"artistGallery":238,"links":366,"externLink":383,"meta":386,"tags":399,"additionalFiles":401},{"content":210},{"content":210},{"content":218},"http:\u002F\u002Fwww.terryhaggerty.org\u002F",{"content":220},true,{"content":222,"id":225},{"name":223},{"content":224},"cv_terry_haggerty-baa39447.pdf","01KC1725PZC190NXKWVMRC368X",{"content":227,"id":230},{"name":228},{"content":229},"2019+11+DSC0050-1.jpg","01JQXJC9993MJ1X1KEF25AGQT4",{"content":232,"id":235},{"name":233},{"content":234},"2019+11+VonBartha_20190524_DSC7327_cBen_Koechlin.jpg","01JQXJC99915NNKK7RWZVJD8E0",{"content":237},"b. 1970 in London, England \u002F Lives and works in Eugene, USA\n\nTerry 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, corners 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.",{"content":239},[240],{"id":241,"content":242},"01JQXJC9991WJ7NHN5MGT7BWFD",{"blocks":243},{"content":244},[245,256,266,276,286,296,306,316,326,336,346,356],{"id":246,"content":247,"type":255},"01JQXJC9992FYSJ17BNFRNN9EZ",{"image":248,"caption":253},{"content":249,"id":252},{"name":250},{"content":251},"2023+12+140A0408-kopier.jpg","01JQXJC99934JGSFVBHDWY2SY1",{"content":254},"Terry Haggerty in front of his work\\\n*Alone together*, 2023","pages\u002Fimage",{"id":257,"content":258,"type":255},"01JQXJC999GCHJM06DZE5M769B",{"image":259,"caption":264},{"content":260,"id":263},{"name":261},{"content":262},"2019+11+CF021224.jpg","01JQXJC999D7VDWGP3R9160REQ",{"content":265},"*fondant scale*, 2022\nAcrylic on canvas\n170 x 130 cm",{"id":267,"content":268,"type":255},"01JQXJC999K51R463C31CGT1SK",{"image":269,"caption":274},{"content":270,"id":273},{"name":271},{"content":272},"2019+11+140A0335-kopier.jpg","01JQXJC9992TPPJC58ZZ00RA0F",{"content":275},"*One way, return*, 2023\nAcrylic on canvas\nDiptych, 80 x 65 cm each",{"id":277,"content":278,"type":255},"01JQXJC999FBSN90X0QRGCAPV9",{"image":279,"caption":284},{"content":280,"id":283},{"name":281},{"content":282},"2019+11+140A0516.jpg","01JQXJC999YZZSF3SVB5EQ1RV6",{"content":285},"Site-specific installation at von Bartha, Copenhagen, 2023\\\nVinyl on glass",{"id":287,"content":288,"type":255},"01JQXJC999DV52D1CYF5TW1ENZ",{"image":289,"caption":294},{"content":290,"id":293},{"name":291},{"content":292},"2019+12+VB_Terry_Haggerty_2018-0695.jpg","01JQXJC999SJ6PK7G5G057TYSQ",{"content":295},"*Trouser press, 2018 & Viaduct*, 2018\n\nInstallation view\\\nvon Bartha, Basel, 2019",{"id":297,"content":298,"type":255},"01JQXJC999WK560PZFBZDAWV1T",{"image":299,"caption":304},{"content":300,"id":303},{"name":301},{"content":302},"2019+11+Terry_Haggerty_2015-0155.jpg","01JQXJC999YRDE0NXJRVHR8AEJ",{"content":305},"Left side drop, 2015\nAcrylic on wood panel\n180 x 120 cm",{"id":307,"content":308,"type":255},"01JQXJC999B5FG1QGY36Z0821C",{"image":309,"caption":314},{"content":310,"id":313},{"name":311},{"content":312},"2019+11+Terry-Haggerty_VON-BARTHA_2021_11_MidRes.jpg","01JQXJC999R7ASYCJNXTF6FKJN",{"content":315},"*Skew wiff*, 2020\nAcrylic on steel\n80 x 68 cm",{"id":317,"content":318,"type":255},"01JQXJC9991R863XEZVMC2564Y",{"image":319,"caption":324},{"content":320,"id":323},{"name":321},{"content":322},"2019+11+DSC_2459_1.jpg","01JQXJC9997PRX3AHPQGKAN1SX",{"content":325},"Cut away, 2019\nAcrylic on wood\n150 x 65 cm",{"id":327,"content":328,"type":255},"01JQXJC999S4NRAWKPG4M4GZX8",{"image":329,"caption":334},{"content":330,"id":333},{"name":331},{"content":332},"2019+11+TerryHaggery_S-Chanf_DSC9270_web_cBen_Koechlin.jpg","01JQXJC999HY43WN4436XGJ46A",{"content":335},"Part II, 2016\n2 pac\u002Fpowder coat on aluminum\n49 1\u002F4 x 62 5\u002F8 x 6 1\u002F4 in\\\n125 x 159 x 16 cm",{"id":337,"content":338,"type":255},"01JQXJC99957085BY511KDW5WG",{"image":339,"caption":344},{"content":340,"id":343},{"name":341},{"content":342},"2019+11+Madrid_O-18_TH18.jpg","01JQXJC999YNDGN4X0TYZZWR69",{"content":345},"O-18, 2018\nAcrylic and colored pencil on graph paper\n28 x 21 cm",{"id":347,"content":348,"type":255},"01JQXJC999TRPFPJ548405DJGB",{"image":349,"caption":354},{"content":350,"id":353},{"name":351},{"content":352},"2019+11+Terry_Haggerty_2015-0174.jpg","01JQXJC999D9RM2ZQ1RQR1M6WZ",{"content":355},"angular momentum, 2015\nacrylic on wood panel\n119 x 164 cm",{"id":357,"content":358,"type":255},"01JQXJC999YYRFCF50GZEGWPDV",{"image":359,"caption":364},{"content":360,"id":363},{"name":361},{"content":362},"2019+11+DSC0050.jpg","01JQXJC999YC7HSPR9PC0Z2785",{"content":365},"Untitled, 2012\n\nInstallation view\n\nvon Bartha, Basel",{"content":367},[368],{"id":369,"content":370},"01JQXJC999MWMZQ6VQYEWSNYJW",{"blocks":371},{"content":372},[373],{"id":374,"content":375},"01JQXJC999AH4DHM70R1PEKKF3",{"text":376,"page":378,"file":380,"url":381,"downloadName":382},{"content":377},"Story",{"content":379},"01JQXJC8C22DDH90MWG6YNFP34",{"content":94},{"content":99},{"content":99},{"url":384,"text":385},{"content":94},{"content":94},{"content":387,"id":398},{"keywords":388,"description":390,"image":392,"title":397},{"content":389},"Terry Haggerty, Basel, S-chanf, contemporary, zeitgenössisch, Kunst, Art, OP Art, Op-Art, trompe-l’oeil, reality, illusion, painting, sculpture",{"content":391},"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.",{"content":393,"id":396},{"name":394},{"content":395},"2019+11+T-HA-3082.jpg","01JQXJC999G0J246S9QT89SDZ9",{"content":99},"01KC17173ANZ8Z6JVWFGQYKM0F",{"content":400},[],{"content":94},24,1790777274199]