Houseago’s sculptures, which range from monumental to smaller-scale works, have a striking ability to simultaneously convey states of power and vulnerability. The artist uses materials associated with classical and modernist sculpture (such as carved wood, clay, plaster and bronze), as well as the less traditional (steel rods, concrete and hessian), to emphatically reveal the creative processes that drive his practice. He typically combines elements rendered in flat portions of wood with others sculpted in the round, together with hand-drawn components that are cast and printed onto the works in a technical tour-de-force. Whilst Houseago’s oeuvre can be seen as a continuation of a historical sculptural tradition, the unusual combinations of materials, references to popular culture and the interplay between two- and three-dimensions all serve to challenge the hierarchy inherent within visual forms, and the materials and values with which they are associated. The artist also creates two-dimensional works on canvas and paper, which he describes as a cross between ‘drawing and mapping’. His more recent paintings, executed in a vivid array of hues, are an exploration of the emotional and spatial power of colour.
Thomas Houseago (b. 1972, Leeds, UK) studied art at London’s Central St Martin’s college in the early 1990s before moving to Amsterdam to study at de Ateliers. He subsequently lived in Brussels for several years, where he had his first solo show with Xavier Hufkens. In 2004, he moved to Los Angeles where he continues to live and work. His work was the subject of a major survey exhibition at the Musée d’Art Moderne de la Ville de Paris in 2019. Recent solo exhibitions include Lovers, Le Consortium, Dijon, France (2015–2016); Masks (Pentagon), Rockefeller Plaza, New York, USA (2015); Gemeentemuseum Den Haag, The Hague, The Netherlands (2014) and Storm King Art Center, Mountainville, New York, USA (2013).
18 May—20 July 2018
13 November—19 December 2015
27 June—31 August 2013
13 November—20 December 2008
12 September—31 October 2002
essays by Lisa Le Feuvre and Rudi Fuchs, published by Modern Art Oxford, 2017, 240 pages, English
text by Lisa Le Feuvre, published by Xavier Hufkens, 2014, 52 pages, English
essay by Rudi Fuchs, published by Xavier Hufkens, 2008, 42 pages, English and Dutch