FIGURE index
The count of lines, 2019
Acrylic paint and chalk on cotton canvas and linen, and metal pins, 20 part work: 1. 183cm x 302cm, 2. 25cm x 30cm, 3. 50cm x 45cm, 4. 25cm x 25cm, 5. 25cm x 25cm, 6. 25cm x 26cm, 7. 38cm x 35cm, 8. 30cm x 30cm x 4cm, 9. 24.5cm x 24cm, 10. 23cm x 22cm, 11. 28cm x 13.5cm, 12. 15.5cm x 22.5cm, 13. 22cm x 31cm, 14. 24.5cm x 16cm, 15 25.5cm x 23cm, 16. 20cm x 12.5cm, 17. 24.5cm x 34.5cm, 18. 5cm x 11.5cm, 19. 22.5cm x 27.5cm, 20. 31.5cm x 29.5cm Installation variable
Photo credit Peter White, FXP Photography
The blue is in the green, 2018
Acrylic paint on cotton canvas, canvas board, paper and metal, 13 part work: 1. 168cm x 154cm, 2. 200cm x 93.5cm, 3. 154cm x 9cm diameter, 4. 30.5cm x 30.5cm, 5. 12.5cm x 17.5cm, 6. 20cm x 20cm, 7. 25cm x 20cm, 8. 10cm, x 15cm, 9. 30cm x 25cm, 10. 25cm x 20cm, 11. 25cm x 20cm, 12. 12.5cm x 35cm x 7.5cm, 13. 12.5cm x 35cm x 7.5cm (metal supports) Installation variable
Photo credit Peter White, FXP Photography
The Weight of Souls II, 2017/18
Acrylic paint and chalk on cotton canvas, 9 part work: 1. 140cm x 130cm, 2. 160cm x 160cm, 3. 12.5cm x 10cm, 4. 12.5cm x 10cm, 5. 10cm x 7.5cm, 6. 25cm x 30cm, 7. 20cm x 20cm, 8. 25cm x 30cm, 9. 25cm x 25cm Installation variable
Photo credit Peter White, FXP Photography
The Weight of Souls I, 2017/18
Acrylic paint and chalk on cotton canvas and canvas board, 13 part work: 1. 165cm x 240cm, 2. 190cm x 240cm, 3. 25cm x 30cm, 4. 20cm x 25cm, 5. 25.5cm x 25.5cm, 6. 26cm x 25.5cm, 7. 20cm x 20cm, 8. 18cm x 13cm, 9. 25cm x 30cm, 10. 25.5cm x 20.5cm, 11. 25.5cm x 20.5cm, 12. 25.5cm x 30cm, 13. 20.5cm x 20.5cm Installation variable
Photo credit Peter White, FXP Photography
In some languages there is one hundred words for snow, in others there are none, 2016/18
Acrylic paint on cotton canvas, silk, tracing paper, paper and metal, 12 part work: 1. 160cm x 160cm, 2. 75cm x 70cm (with painted canvas attachments), 3. 51cm x 51cm, 4. 30cm x 30cm, 5. 25cm x 20cm, 6. 25cm x 20cm, 7. 25cm x 30cm, 7. 20cm x 25cm, 8. 18cm x 12.5cm, 9. 18cm x 12.5cm and 148.5cm x 10.5cm (paper), 10. 91cm x 92cm (silk fabric unfolded), 11. 12. 12.5cm x 35cm x 7.5cm Installation variable
Photo credit Peter White, FXP Photography
Iniquitous Symmetries, 2014
Acrylic paint and chalk on cotton and linen canvas, and metal, 5 part work: 1. 190cm x 165cm, 2. 190cm x 165cm, 3. 65cm x 75cm Installation variable
Studio view photo Avis Newman
A little patch of yellow, 2014
Acrylic paint on cotton canvas; 40cm x 40cm
Exhibition A Little Patch of Yellow, The Lion and Lamb Gallery, London, 2014
Birds of a feather III, 2009/12
Acrylic paint and pencil on canvas and linen with paper, elastic band and metal, 6 part work: 1. 254cm x 254cm, 2. 25cm x 30cm, 3. 25cm x 25cm, 4. 25cm x 25cm, 5. 25cm x 25cm, 6. 25cm x 25cm Installation variable
Exhibition Mobile Relations, NUA Gallery, Norwich; Installation view, Photo credit Peter White, FXP Photography
A man who walks on his head, ladies and gentlemen, a man who walks on his head sees the sky below, as an abyss, 1998
Slate, glass and chalk; 13.8cm x 33cm x 149cm
Exhibition Meridians, Lisson Gallery, London, 1998; Descriptions Museum of Contemporary Art, Sydney, 2003
Untitled, 1998
Slate and glass; 111cm x 30.5cm x 26 cm
Exhibition Meridians, Lisson Gallery, London, 1998; Descriptions Museum of Contemporary Art, Sydney, 2003
Untitled, 1998
Slate and glass; 37cm x 81.3cm x 28.5cm
Exhibition Meridians, Lisson Gallery, London, 1998; Descriptions Museum of Contemporary Art, Sydney, 2003
Sleep’s Reason, 1998
Silvered glass, linen and wood, 4 part work; 1.&2. (2 x mirror) 143cm x 150cm, 3. (ladder) 187cm x 48cm, 4. (ladder) 268cm x 46cm, Installation variable
Exhibition Meridians, Lisson Gallery, London, 1998; Heteronymous or an ambiguous journey through self, Rome, 1997; Pretext: Heteronyms, The Clink, London, 1995;
Figure, 1992-93 (foreground)
Lithographic prints and linen folio, painted wooden tables; 65cm x 95cm x 5cm (folio); 91cm x 72xm x 42cm
Exhibition Recent Work Ikon Gallery, Birmingham, 1995; Vicious Circle, Douglas Hyde Gallery, Dublin, 1993 (image); Vicious Circle, De Appel Foundation, Amsterdam, the Netherlands, 1993;
Photo credit: Edward Woodman
Compass, 1992-93
Acrylic paint, pigment and graphite on Linen canvas, Boxed lithographic prints, painted wood and steel tables, 4 part work; 1. 254cm x 254cm (canvas), 2. 69cm x 75cm x 75cm (tables); 3.&4. 32cm x 31cm x 17cm and 33cm x 31cm x 12cm (lithographic prints)
Exhibition Vicious Circle, Douglas Hyde Gallery, Dublin, 1993; Vicious Circle, De Appel Foundation, Amsterdam, the Netherlands, 1993; Photo credit: Edward Woodman. Exhibited at Ikon Gallery, 2021 as part of A Very Special Place: Ikon in the 1990s
Tate Collection, presented in memory of Adrian Ward-Jackson by Weltkunst Foundation 2013
A Book Of Numbers, 1991
Graphite and acrylic pigment on linen canvas, wood and perspex, linen card slip case, litho prints on paper, 2 part work; 1. 245cm x 245cm; 2. 213.5cm x 45.7cm x 45.7 cm
Exhibition Excavating the Present, Kettle’s Yard, Cambridge, 1991; Vicious Circle, Douglas Hyde Gallery, Dublin, 1993; Vicious Circle, De Appel Foundation, Amsterdam, the Netherlands, 1993 Photo credit: Edward Woodman
A Book Of Numbers, 1991
Linen card slip case, litho prints on paper
Exhibition Excavating the Present, Kettle’s Yard, Cambridge, 1991; Vicious Circle, Douglas Hyde Gallery, Dublin, 1993; Vicious Circle, De Appel Foundation, Amsterdam, the Netherlands, 1993 Photo credit: Edward Woodman
Title Unknown No. I, (Vicious Circle), 1992-93
Charcoal and acrylic paint on linen canvas; 254cm x 254cm x 7cm
Exhibition Vicious Circle, Douglas Hyde Gallery, Dublin, 1993; Vicious Circle, De Appel Foundation, Amsterdam, the Netherlands, 1993 Photo credit: Edward Woodman
Title Unknown No. II, (Vicious Circle), 1992-93
Charcoal and acrylic paint on linen canvas; 254cm x 254cm x 7cm
Exhibition Vicious Circle, Douglas Hyde Gallery, Dublin, 1993; Vicious Circle, De Appel Foundation, Amsterdam, the Netherlands, 1993, Photo credit: Edward Woodman
Lassitude before words, 1987
Mixed media on cotton canvas; 274.5cm x 406.5cm
Exhibition Lassitude before words, Lisson Gallery, London, 1988; Avis Newman, Renaissance Society at the University of Chicago, Chicago, 1987, Photo credit: Sue Ormerod
Private collection
Sensible Ellipse of Lost Origin, 1985-6
Mixed media on cotton canvas; 274.5cm x 457cm
Exhibition Avis Newman, Renaissance Society at the University of Chicago, Chicago, 1987; Material Culture, The Object in British Art of the 1980’s and 90’s, Hayward Gallery, London, 1997
Tate collection
Untitled, 1985-86
Acrylic paint, cotton gauze, muslin and paper on canvas; 274.5cm x 366cm
Nothing Uttered Too, 1985-6 (Left)
Mixed media on cotton canvas; 274.5cm, Photo credit: Sue Ormerod
Cameo of Compulsive Repetition, 1985-86
Mixed media on cotton canvas; 274.3cm x 365.8cm
Exhibition Lassitude before words, Lisson Gallery, London, 1988; Avis Newman, Renaissance Society at the University of Chicago, Chicago, 1987, Photo credit: Prudence Cumming
LA Louver Gallery collection
Figure Who No One is (South wall), 1983-84
Mixed media on cotton canvas; 274.3cm x 365.7cm
Exhibition Figure who no one is... Matt’s Gallery at the Serpentine Gallery, London, 1984; Paula Rego, John Murphy, Avis Newman, Saatchi Gallery, London, 1994, Photo credit: Steve Percival
Private collection
Figure Who No One is (North wall), 1983-84
Mixed media on canvas; 274.3cm x 426.7cm
Exhibition Figure who no one is... Matt’s Gallery at the Serpentine Gallery, London, 1984; Paula Rego, John Murphy, Avis Newman, Saatchi Gallery, London, 1994, Photo credit: Steve Percival
Private collection
Figure Who No One is (East wall), 1983-84
Mixed media on cotton canvas; 274.3cm x 365.7cm (2 x canvases)
Exhibition Figure who no one is... Matt’s Gallery at the Serpentine Gallery, London, 1984; Paula Rego, John Murphy, Avis Newman, Saatchi Gallery, London, 1994; Photo credit: Steve Percival
Private collection
The Wing of the Wind of Madness, 1982
Acrylic paint, metallic paint, cotton gauze, muslin and paper on canvas; 274.5cm x 366cm
Exhibition Tate Modern, London, 2015
Tate Collection, presented by Janet Wolfs de Botton
