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Melbourne, Victoria, Australia 1929 – United States of America 2005
- Movements: United States of America from 1963
weathered steel approx. 365.0 h x 1402.0 w x 609.0 d cm ; weight 8164.0 kg
Accession No: NGA 73.656
© Clement Meadmore/VAGA. Licensed by Viscopy
Clement Meadmore began a career as an industrial designer in Melbourne, before starting to exhibit non-figurative metal sculpture in the mid-1950s. At first glance, Cross appears to be fashioned from precariously balanced heavy slabs of iron or bronze. Yet, what look like solid blocks are in reality hollow, like empty boxes with an exterior shell constructed from thin sheets of welded steel. The dark rough texture of the surfaces is a deliberate effect, an expressive gesture of being wrought by the hand of the artist.
Meadmore moved to Sydney in 1960, left for New York in 1963 and became an American citizen in 1976. He remains Australia’s most prominent expatriate sculptor with major public sculptures in Australia and numerous commissions abroad. Virginia,dedicated to a fellow expatriate, the painter Virginia Cuppaidge, was commissioned for the National Gallery of Australia’s sculpture garden, where it is now located with the work of other notable international sculptors.
In the late 1960s, working in the United States provided Meadmore with opportunities to produce sculpture on an increasingly ambitious and monumental scale. There is an effortlessness with which the single massive form of Virginiahas been apparently twisted in the centre so that its ends float above the ground in defiance of gravity. The genesis for the creation of this visual perception of weightlessness can be seen in Meadmore’s earlier work such as Cross. In fact, Virginia weighs over 8000 kilograms, or eight tonnes, and was fabricated at the pioneering Lippincott factory for large-scale sculpture in the United States, before being shipped to Australia in four parts and reassembled in Canberra.
Virginia is made from a particular brand of steel, known as cor-ten, whichthe artist has intentionally allowed to weather on the surface to a warm earthy rust-red. As is the case with most successful outdoor sculptures, Virginia engages in a sympathetic dialogue with the environment it inhabits.
Steven Tonkin 2002
Text © National Gallery of Australia, Canberra 2010
From: Anne Gray (ed), Australian art in the National Gallery of Australia, National Gallery of Australia, Canberra, 2002