1952 – 2006
Guardian Guide, Pick of the week, Saturday 28 January 2012
While best known for his public art commissions, these are late smaller-scale abstract sculptures and drawings show Mason at his most soulfully resonant
Tarpey Gallery, Castle Donington
2005 Stone Landscpes. Quay Arts. Newport Isle of Wight
2001 “Division as Structure” Reliefs & Drawings Bauhaus Archiv, Berlin
1998 Six Chapel Row, Bath
1997 “From the Ocean Floor” Djanogly Arts Centre, Nottingham
1996 Tate Gallery St Ives. Installation and new work sited throughout the permanent collection
2004 Fermynwoods Gallery, Northampton with John Holden
1999 Dock Museum, Barrow in Furness
1997 Drawing Exhibition, Newlyn Art Gallery
1995 “Divers Memories” Pitt Rivers Museum, Oxford
2012 Tarpey Gallery
Please email info@tarpeygallery for a full catalogue of available work.
Paul Mason (23 June 1952 – 9 May 2006) was a British sculptor and artist working mainly in stone and marble. Winner of the Royal Academy Gold Medal in 1976, his work has been exhibited in the United Kingdom and Europe, including the Tate Gallery, St Ives and the Bauhaus Kunst-Archiv in Berlin.
With several major works on permanent public display in Nottingham and others as far afield as Aberdeen and the Isle of Wight, Mason is best known for his iconic stone carved pieces that are large scale interpretations of natural form. However alongside his public art he was a prolific carver of smaller more intimate and experimental sculptures and drawings and collages. Many of these featured in exhibitions that resulted from prestigious residencies such as Tate St. Ives and Gloucester Cathedral. In his late works on paper colour broke into his output in bold and vigorous paintings; alongside reliefs, drawings and free standing sculpture. Many of these a result of responses to visits to dramatic landscapes such as Malham Cove, Yorkshire, Staffa and the Orkney’s.
“My works attempt to recognise and emulate the natural forces inherent in both carving and the geology. There is something deeply attractive and satisfying about the sculptural processes on both scales, and the dialogue between them that occurs quite naturally within the fragment and the whole.”