David Begbie scoprì le proprietà particolari della maglia di acciaio da studente d’arte nel 1977. Da allora le sue opere sono state esposte a livello globale e sono state fonte di enorme ispirazione per molte persone, tra cui architetti, designer, fotografi, il mondo del teatro, danza e collezionisti, oltre ad altri artisti e il suo lavoro è stato imitato e copiato in tutto il mondo. Egli è il padrone del suo mezzo e il suo lavoro parla per sé stesso. La maglia è trasparente - 90% di aria sottile, eppure ha una maggiore presenza fisicale di qualsiasi forma solida convenzionale. Le abilità di Begbie, la percezione, la comprensione e l’immaginazione sono contenuti succintamente e economicamente entro i confini del guscio semplice che costituisce la sua scultura. Guarda di nuovo da vicino e si vede che non c’è neanche la pelle, solo una delineazione grafica di essa. In rapporto allo spazio che occupa, l’effetto catalitico che una scultura di Begbie possiede, in qualsiasi ambiente, dato che non ha sostanza palpabile ne’ superficie, è fenomenale.
“Ogni opera è un ente la quale ha un maggiore presenza fiscale che un qualsiasi oggetto solido potrebbe avere perché ha il potere di suggerire che essa non esiste.”

L’introduzione dell’ illuminazione strategica come parte integrale di una particolare composizione ha il più notevole risultato quando la combinazione di due e tre dimensioni, con l’impiego di ombre proiettate, produce una fusione ottica dell’immagine e dell’oggetto. La preoccupazione per la forma umana come suo soggetto deriva da giovane età, il fascino per la riproduzione di organismi figurativi in maglia di acciaio è sviluppato ampiamente.

David Begbie realizza pregiati dettagli di muscolatura sulla scultura e completezza estetica della forma umana che è stata anche paragonata a Michelangelo ed in particolare a Rodin, anche se il suo soggetto è spesso quello di una figura parziale o troncata. L’ultima scultura di David Begbie è figurativa in un senso completamente diverso.
Le sue sculture di bandiere come ad esempio ‘MBLEM’ e ‘UNTIED KINGDOM’ (regno slegato) azzarda verso l’astrazione ma rimangono riconoscibili come soggetto. Tuttavia le sue sculture piu’ recenti come ‘CIRRUS’, ‘CUMULUS’ e ‘ARIOS DIPTYCH’ fanno riferimento alle forme di nubi e aria ma appaiono puramente astratte nella loro interpretazione. Queste sculture si concentrano sulle qualità’ dinamiche e ottiche del materiale stesso e la sua interazione con la luce specifica o ambientale nello spazio sospeso. Per lo spettatore il materiale della maglia di bronzo significa intrigo ma è in qualche modo familiare. Guardando oltre si scopre le proprietà del mezzo - la maglia verniciata bianco crea una vivacità e senso di movimento che sono aumentati con l’uso del gioco di ombre creato con l’illuminazione strategica. È necessario toccare un Begbie per assicurarsi ciò che è reale e ciò che è un’ombra (vedi immagine sopra).

Né en 1955 à Edinburgh en Écosse, David Begbie vit et travaille à Londres, en Angleterre.

Depuis 1977, il exploite jusqu'à la maîtrise totale les possibilités qu'offre un médium unique: le grillage, de bronze ou d'acier. Il le modèle, le repousse, le froisse et le courbe, jusqu'à l'assouplir pour qu'il se fasse peau. La structure de métal devient alors une enveloppe charnelle sous laquelle saillent nerfs et muscles de figures tant sexuées qu'androgynes. Il parvient à ce niveau de perfection où chaque détail du corps humain devient tangible, au point d'avoir fait l'objet de comparaison avec Michelange ou encore Rodin. Au-delà du métal, c'est réellement la lumière que travaille Begbie. Lorsque frappés par les rayons lumineux, ces corps d'acier s'animent, s'incarnent et dansent le long des murs, les visages méditatifs de ses Buddhas s'égayent d'un sourire apaisé et ses figures ailées prennent leur envol. Cet quête d'illumination prend pied dans la spiritualité de l'artiste; mais au-delà de toute notion religieuse, les oeuvres de Davide Begbie célèbrent la vie et la pureté de l'être.

Avec à son actif, plus d'une trentaine d'expositions solo sur quatre continents et la présence de ses sculptures dans de nombreuses collections publiques (Galleria Nazionali de Arte Moderna, Rome, Italie; National Gallery Canberra, Australie; Museum Beelden aan Zee, Hollande; National Gallery of Canada; National History Museum, London, G.-B.) et privées (Millenium Dome, London, G.-B.; Shrine of Walsingham, Norfolk, G.-B.) et privées (Buddha Bar, Londres, G.-B.; Citibank, Londres, G.-B.; The Hyatt Carlton, Londres, G.-B.; Connaught Hotel, Londres, G.-B,. The Lowry Hotel, Manchester, G.-B.; Hanover Grange, Montego Bay, Jamaïque, etc.), David Begbie est l'un des sculpteurs les plus influents d'Angleterre.

Zijn fantastisch gedetailleerde sculpturen van staalgaas bestaan voornamelijk uit torso’s. Wanneer deze worden uitgelicht, toont zich in de vorm van de schaduw een tekening op de achterwand. De tekeningen zijn gedetailleerd, maar tegelijkertijd fragiel omdat het een lichtspel is. De spanning die dat met zich meebrengt maakt de kunstvorm bijzonder. De sculptuur is ondergeschikt aan de schaduw, wat vervreemdend en drie dimensionaal werkt.

David Begbie trekt al vele jaren mondiale belangstelling en krijgt hoge waardering voor zijn met de hand gevormde staalgaas sculpturen. Hij creëert de paradox: koud, industrieel materiaal oogt delicaat en sensueel. Er wordt getracht zijn werk te imiteren. Echter er is nog nooit iemand in geslaagd in de buurt te komen van de verfijning van het werk, van de meester van de schaduw (-spel) sculpturen.

“Omdat de werken de macht hebben te suggereren dat ze niet bestaan, creëren ze een entiteit die zich fysiek intenser manifesteert.”

Van Loon Galleries

HINTERGRUND

Geboren 1955 in Edinburg, studierte David Begbie 7 Jahre an etablierten Kunsthochschulen, wo er mit seiner einzigartigen bildhauerischen Technik und den Anfängen einer neuen visuellen Sprache hervortrat, dem feinmaschigen Stahlnetz als Kunstmedium. Seit 1982 hat er fast ausschließlich mit dem menschlichen Körper gearbeitet, meistens mit Stahlnetz, aber auch in Monoprints, Radierungen, Tinten- und Kreidezeichnungen, Mixed-media Arbeiten und Fotografien. Am bekanntesten ist er für seine außergewöhnlichen halb-transparenten Stahlnetz-Skulpturen.


SEIN WERK

Seine Faszination für figurative Kunst in Stahlnetzen hat er in mehr als 40 Jahren stets weiter entwickelt. Auf sein Frühwerk zurückblickend, besteht dort ein Element der Rohheit wenn er das geometrische Maschenmuster in dreidimensionale Form umarbeitet welches mit Michelangelo und Rodin verglichen wird.

Der eigentliche "Thrill" in Begbies Arbeiten liegt in der Erfahrung des Sehens "im Fleisch”: die geformten Körper sind kraftvoll, erotisch und intim. Den Betrachter macht das Stahlnetz-Material neugierig und doch ist es ihm irgendwie sehr vertraut; bei der ersten Begegnung mit Begbies Arbeiten will man einfach erfahren, wie die Perfektion der menschlichen Form erreicht wird. Bei genauerer Betrachtung wird man mit den Eigenschaften der Skulptur vertraut – die Stahlmaschen kreieren eine Lebhaftigkeit und eine Art von Bewegung, die durch das mit einfacher Beleuchtung entstehende Schattenspiel noch belebter wird.

AUFTRÄGE/SHOWS

David Begbie arbeitet international in Europa, Amerika, Canada, Südafrika, Australien und Asien. Seit 1979 wurde Begbies Werk in Galerien in London, Zürich, Toronto, Rom, Madrid, Los Angeles, New York, Aspen, Miami, Sydney, Vancouver, Singapur und Hong Kong ausgestellt. Außerdem arbeitet er an Projekten mit Architekten, Innen-, Mode- und Theaterdesignern.
David hat Installationen im Innen- und Außenbereich für Fitnessclubs, öffentliche Gebäude, Museen, Hotels, Restaurants und auch Kirchen geschaffen, z.B. die "Faith Zone" des Millennium Domes, London, heute O2 Arena genannt.


WIE DAVID BEGBIE SEINE SKULPTUREN FORMT

Alle drei-dimensionalen Stahlnetz-Skulpturen sind stets handgeformt und werden niemals, wie es sich manche vorstellen von einem Modell abgeformt.

David nimmt ein flaches Stück des recht biegsamen Stahlnetzes und schneidet die Grundform heraus. Er moderiert das Stahlnetz mit Händen, ähnlich wie andere Bildhauer mit Ton arbeiten. Der einzig technische Eingriff ist der Schweißprozess für die Stahlbasis und das anschließende Fixieren jedes einzelnen Knotenpunkts des Stahlnetzes. Das Resultat ist eine rech robuste Skulptur - Die Skulpturen können problemlos verpackt und versendet werden.

Der faszinierende Schatten jeder Skulptur ist integraler Bestand seiner Kunst. David ist sich jeder künstlerischen Entscheidung beim Modellieren sehr bewußt, wenn er das Stahlnetz formt.

Jede Stahl- oder Bronzenetz Skulptur ist ein Unikat und kann nicht exakt kopiert werden, auch wenn David Werke Themen wiederholt. Jedes Werk hat einen eigenen Charakter und Individualität.

Die eigene und neue Kunstform Stahl-Panel jedoch ist in einer strikt limitierten Auflage von 9 (zusätzliche 3 "Artist-Proofs") erhältlich. Alle Panel-Skulpturen sind nummeriert und signiert. Diese flache Skulpturen sind durch Photo-Ätz-Technik halb-transparent und werfen lebhafte Schatten die wiederum mit der zwei- und drei-Dimensionalität spielen. Sie können freistehend oder hängend präsentiert werden.

David arbeitet seit mehr als 40 Jahren mit Metallnetz. Unter Berücksichtigung der klaren Einfachheit des industriellen Materials kombiniert sein Talent und die über viele Jahre angehäufte technische Fähigkeit von anderen Stahlnetz-Künstlern eine nie erreichte Schönheit.
Er ist der Schöpfer und Meister seines Kunstmediums Stahl- und Bronzenetz und beeinflusst seit Jahren viele Kreative.

“You see a block, think about the image: It’s inside, you only
have to undress it. I’m referring to sculpture, that which requires
taking away and placing, it’s similar to painting: as long as namely
sculpture and painting come from the same intelligence, they can
be left together in peace, leaving aside many disputes; because
more time is lost on these, than on making figures. “
(Michelangelo Buonarroti)

SOLID AIR Soloexhibition 2015

DAVID BEGBIE:
THE IMMATERIALITY OF BEING
by Massimiliano Sabbion

The human body is the first aspect of aesthetic and formal investigation with which one comes into contact; it is the discovery of oneself, one’s conscience and knowledge. It is the contrast between oneself and the outside world, with other bodies, with other human beings.
An infant touches itself, discovers itself, reveals itself and this primordial knowledge then develops in the body that forms and changes in adulthood, until the end of life. In the contemporary world the body is increasingly considered a temple, a place of rationality and upsets, where social and cultural lines merge, creating presence and representation of aesthetic ideals and standards to refer to.1

There isn’t a culture in which the body is not at the basis of aesthetic, moral and religious thoughts, both a daily blessing and a curse: it is the visual and tactile communication alluded to every day by mankind2.
The body is also the medium of investigation and development for the sculptor David Begbie.

The physical material which shows through in his sculptures becomes the explosion of shapes, muscles, tensions and postures that reflect the use of an idealised body, whether male or female. On the one hand the power of the masculine body, the gentleness of the moulded shapes of the female figures, all created with a modern material which undoubtedly does not arise from the standards for classical sculpture: the metallic net, an industrial product with a weave which allows light and air to pass through making the figures ethereal and intangible, almost spongy and light but equally real and physical with their presence and carnality. The great strength of interest in human anatomy shows through in every work which is equipped with a unique personality, one-off pieces created by the artist’s hands that are the result of multiple studies done with models, everyday observations, sources that continually bombard Modern Man. The body is present and speaks through photographs, advertisements, the gym, video, music, cinema, theatre, dance, in an unconscious and sublime manner, today we are continuously subjected to the exhibition of the human body3. The physical aspect, viewed in an annoying and often obsessive manner, is a contemporary feature where one searches for a perfect and ideal body. In David Begbie this reflects and breathes almost by subliminal osmosis with the idea of a physical body living again in motionless energy from which created shapes arise. Body postures and the way the artist composes them refer to the sculptures of classical antiquity, where remote standards of beauty merge with the past that tore apart the bodies and returned sculptures with missing legs, arms, heads, thus leaving only the essence of the body itself.
The material, meshes of iron and bronze and metallic nets, are linked inseparably with the idea of a modern industrial compound, which places the works in a completely new context capable of speaking a language which becomes the stylistic tone of “doing sculpture “ in the new millennium.4

Another element that mixes perfectly with the final work is light, through lighting, shadows are created which give a weight to the works that are ethereal, empty shells that refer to the perfectly moulded body. Light is the final principle and responsible for giving life to the artist’s sculptures, it absorbs and expands, they thus remain full and empty, reflections and plays of the light that produce a real and physical weight arriving in surreal points in the final creation: it is a body that stands out in the light and lives with modelled shadows which are reflected in surfaces that appear to move and pulsate with life. The viewer is required not only to “see”, but to “look at” that is to go beyond the simple mechanism of vision. Often the desire to interact with the element created is strong, they are both delicate and strong shapes at the same time, you feel the desire to embrace the sculptures, to touch the immaterial because that before the eyes of the beholder is real but in contrast it is light and transparent, like a cloud created by one idea and thought, an antimatter that is moulded. Understandably, the reference to the great attention of sculpture of the past, not only citing the classical world and the beauty of the Greek-Roman shaped bodies, but a whole host of artists to which David Begbie was inspired by an interest in formal appearance in the first place but then going beyond the expressive, emotional, physical and passionate study of sculptors such as Michelangelo, Auguste Rodin and Medardo Rosso5.
From Michelangelo, sinewy shapes and exaggerated forms typical of Mannerism were derived, that led to a spectacular overtaking of the human body, in which muscles and contortions made the body alive and went beyond the natural beauty. Sinewy shapes are found again in the art of Egon Schiele and in studied compositions of bodies and postures. Regarding Auguste Rodin, David Begbie admires his ability to model the expressions and emotionality that arise in the form, from the French master’s sculptures the concreteness of flesh is acquired that starts the physical revelation of his characters’ personalities.

Medardo Rosso’s art, so intimate and able to solidify the carpe diem Impressionist, blends perfectly with the research of David Begbie, both pursue the fleeting and delicately modelled incorporation of air and light, and the words of Medardo Rosso also apply for the contemporary sculptor: “Nothing is material in space ... we are nothing but tricks of light: what matters in art is to let the material be forgotten.” 6

If the material is forgotten in front of David Begbies’ works, it’s not the case with the end result of the physical and bodily reproduction. “My concern is precisely contemporary in the fact that I’m transposing a modern industrial material, in a similar way to Mannerism but in no way in the same style of Michelangelo because my influences come from a much broader context, in today’s society. My sculpture is completely different due to the nature of the material, even though the results invoke the same emotions. Our bodies are compared with the world on many levels, that which we individually see, feel and appreciate, and how we see each other, it’s staggeringly important.”

The emotion of a body reproduced, according to aesthetic principles by means of new materials, is left to live in air and light and it is in this way the vision of a look that brings contemporary sculpture to new experiments, new worlds, and new bodies.

1. B. 1. B. FRIGERIO, 1 B. FRIGERIO, Exposed Bodies. Beauty and Anesthetics in Contemporary Art, Con-Fine Edizioni, 2001
2. S. O’REILLY, 2 S. O’REILLY, The Body in Contemporary Art, Piccolo Biblioteca Einaudi, 2009
3. T. PLEBANI, A. SCATTIGNO N. M. FILIPPINI, Bodies and History: Women and Men from the Ancient World to Contemporary Times, Libreria Editrice, 2002
4. F. POLI, Twentieth Century Sculpture, Editori Laterza, 2006
5. M. DE MICHELI, Twentieth Century Sculpture, Garzanti, 1992 6. G. LISTA, Medardo Rosso. Sculpture and photography, 5Continentes, 2003