We are pleased to present a major exhibition of large-scale sculptures by Henry Moore!

A pioneer of modern British sculpture, Moore engaged the abstract, the surreal, the primitive and the classical in vigorous corporeal forms that are as accessible and familiar as they are avant-garde. His monumental sculptures celebrated the power of organic forms at a time when traditional representation was largely eschewed by the vanguard art establishment. The overwhelming physicality of their scale and forceful presence promotes a charged relation between sculpture, site and viewer. Reclining Figure: Hand (1979) is immediately identifiable as a human form despite its modulated stylization. The rounded, cloud-like body, which contrasts with a “knife-edge” head derived from bird bone, attests to Moore’s more exploratory impulses when compared to Reclining Connected Forms (1969), where he alludes to body parts using the vocabulary of mechanical components. Large Two Forms (1966) takes its shape from flints, whereas Large Spindle Piece (1974) reveals an interest in both natural and man-made objects.>

It was Moore’s intention that these large-scale works be interacted with, viewed close-up, and even touched. Given their heft and mass, they are most commonly sited outdoors, subject to the effects of changing light, weather, and landscape. But seen within the pristine white environment of the gallery, the contrasting shapes, patinas and sheer scale of the sculptures are more keenly felt. Brimming with latent energy, their richly textured surfaces and sensual, rippling arcs and concavities can be seen to new effect.

In each of the Red Yellow Blue paintings (1974), Marden painted slabs of dense yet nuanced color on three adjoined canvas panels, using oil paint mixed on the spot with melted beeswax and turpentine and applied with a knife and spatula. The dull sheen of the encaustic medium intensifies the bold, contrasting color blocks, built up through the temperamental layering process that yielded such intricately worked surfaces. The spirited variations within each "primary" trio (where red can