• Caesura VI,1999

    Charles Hadcock, Caesura VI,1999 , Bronze, 200 cm

  • Passacaglia, 1998

    Charles Hadcock, Passacaglia, 1998 , Cast iron, 300 x 250 x 500 cm

  • Caesura VII, 2004

    Charles Hadcock, Caesura VII, 2004 , Cast Iron, 700 cm

  • Sesqui, 2007

    Charles Hadcock, Sesqui, 2007 , Cast iron, 250 cm

Charles Hadcock FRBS

Aspects of the natural world and geology lie in combination within Charles Hadcock’s work, openly, or as hidden jewels.

Charles Hadcock’s (b1965) monumental sculpture reflect his interest in geology, engineering and mathematics and are enriched by references to music and poetry. His direct observation of rock surfaces, for example, has provided sources for the surface of his sculptures, while at second-hand he has appropriated items such as designed or engineered solutions for packaging, and machinery of various types. These, cast in other materials become components for his sculptures.

Mathematics comes to the fore in planning how a sculpture will work. A curve drawn with a free hand on paper requires more than just good will to make it work in solid three dimensions. He works creatively with number, as in Fibonacci numbers and the Golden Section, based on his own body height in many of his sculptures. The multiple, whether made by Hadcock or appropriated by him from elsewhere, emerges in his work. Hadcock prefers to work with industrial companies rather than fine art foundries, for portions of his sculpture are to be as anonymous as factory made items. The eye and hand of the artist is to be found more in his choice of parts and in locating them within the whole sculptural structure, and in the essentially magical element of intuition.

  • Categories: Installation/Land/Site-specific
  • Materials: Bronze
  • Location: North West