We loved being a part of the Parallel Lines: Drawing and Sculpture exhibition at the Light Box Gallery, Woking where over 5,000 visitors saw the show during its run.

This exhibition was in conjunction with the Light Box and The Royal Society of Sculptors.

An excerpt about the Parallel Lines: Drawing and Sculpture exhibition:

Bringing together key Modern British sculptures from The Ingram Collection and drawings by members of the Royal Society of Sculptors, the exhibition explores the integral relationship between the two mediums.

Looking into twentieth century British sculptors’ artistic practices, this show seeks to underline and examine how drawing and sculpture intertwine, the former often acting as a preparatory process for the latter. By creating drawings which are direct responses to the works from The Ingram Collection, Society members have reversed and deconstructed this process in order to draw parallels between the transformative aspects of both mediums.

The works in the exhibition were selected and guest curated by Caroline Worthington, Director of the Royal Society of Sculptors. There are affinities between them that link several Society artists to their twentieth century counterparts in The Ingram Collection.

Some were personally acquainted or even taught by them and others influenced several Society sculptors in their early careers.

The formal elements present combine the rhythms, forms and planes of the sculptures with the use of surface textures, sense of volume and the use of geometric shapes. Some works explore mythical stories, whilst others highlight the draw of the landscape or look at directional movement. Traditional approaches have been used as well as new media technologies and, for some, it was the simple pleasure of illustrating something in a new format that drove their creative process.

This exhibition is inspired by the practical and intellectual connections that continue to bridge the gap between drawing and sculpture, bringing the two art forms closer together.

In response to Geoffrey Clarke:

Jonty Hurwitz
Glyndebourne Afternoon Before the Opera, 2018 Ink polargraph, acrylic

I have chosen 'Man' by Geoffrey Clarke because the symbolism and structure of the masculine form is beautifully mirrored and met in union with the feminine form through 'Woman: Glyndebourne Afternoon'. Whilst 'Woman: Glyndebourne Afternoon is a celebration of the female form, it uses masculine lines in which to represent this. The ying and the yang. The piece 'Man' embodies the masculine structure which is placed within a feminine uneven stone