More on Music
An Exhibition of Paintings, Sculpture and Ceramics
By David Cowley and Barbara Wakefield
Study for ‘Mozart K.421, St Martin-in -
the-Fields’, Acrylic on paper, David
Detail from ‘Evening Song
Satyagraha, Philip Glass’, Porcelain
Panel, Barbara Wakefield
Tuesday 11th – Saturday 15th September 2012
Opening hours: 11am – 9pm
54 The Gallery
A few steps from the bustle of Trafalgar Square, on the eastern side, is the entrance to St. Martin-in-the-Fields.
Open the church door and be drawn in by the music and the striking new stained glass window of this recently
This is the site that has inspired David Cowley’s most recent series
of paintings. Using acrylic on paper and canvas he has taken the
spaces of St. Martin-in-the-Fields and the performance of Mozart’s
String Quartet K.421 by the Lazarus Quartet to create visual
analogies of auditory remembrances. Both subtle and bold dramatic
colour, translucent layers and dense areas of paint all contribute to
give the feeling of sound echoing, floating and reverberating within
Over the years David Cowley has created paintings and sculptures
based upon the performances of classical music concerts in St.
John’s Smith Square, St. Alfege, St. Luke’s and many other City of
London Churches. Performance, architectural space and musical
score come together in paint to provide these visual and auditory
‘St. John's Smith Square, McCabe
Symphony No.7, Labyrinth’, Acrylic on
paper, David Cowley
Imagine a musical score with its complexities of rhythm, pattern and
code. Manuscripts laid on handmade paper, finely printed Baroque composition to the beauty of contemporary
musical notations which challenge the traditional notion of the score, are source material for Barbara
Wakefield’s finely worked porcelain panels.
The use of porcelain for the making of functional and artware is well
known for its qualities of strength, whiteness and translucency, and it
has also long been associated with sound, especially in the Orient.
Barbara’s knowledge of musical notation leads from her experience
as a musician to an individual artistic approach where sound is
evoked in her technical treatment of materials on porcelain. Ceramic
materials lend themselves to a multitude of textures and marks in
and on the clay. By using processes of layering and techniques of
printing and drawing, Barbara uses clay slips, pigments and glazes to
build up layers from images on notation, musicians and musical
instruments suggesting particular pieces of music.
‘Acoustic Screen’, Porcelain, Barbara
Large and small slipcast porcelain bowls, with reference to sound within space both contained and of the air,
compliment these porcelain panels and notations, also embracing the music of Bach to Glass.