October 25th – November 15th, 2012
Monday – Friday 10am-5pm
Saturday 11am-5pm; Closed Sunday
43 Greenwich Avenue, Greenwich CT, 06830
Fluid, dynamic, and energetic best describe the work of American sculptor Robert Cook. He is known for using his own compound formula of beeswax, paraffin and rosin; this technique translates into unique and one-of-a-kind provocative bronze forms that capture motion. We are pleased to feature selections from Cook’s body of work in a one-man exhibition.
The New York Times critic Stuart Preston once claimed, “cleverness and absolute assurance of technique and overall design identify Robert Cook’s new semi-abstract metal sculpture...He succeeds in this attempt by re-introducing subjects to skeletal lines of force, somewhat in the manner of futurism”.
Robert Cook’s innovative mind and skillful practice have contributed to a successful lifetime career in sculpture. He has studied in Boston, Paris, and Rome, and boasts an impressive list of achievements, such as grants from the Tiffany Foundation, the American Academy of Arts and Letters, and the Fulbright Commission. Cook’s work has been exhibited internationally, both in one-man shows and in public spaces, such as New York City’s Park Avenue Plaza that features Dinoceras. Striking and commanding, this massive 20-foot-long sculpture embodies Cook’s signature free flowing forms that are both sophisticated and primitive. Four decades later, working from his studio in Italy, Cook continues to incorporate the same principles in his work.
The exhibition will feature a number of Robert Cook’s most intriguing works. Among them are Gaiety, whose lively forms create positive and negative spaces that mimic a gracefully choreographed dance; Pan 1, a portrayal of the interaction between human and animal in a circular shape that personifies the cycles of life and death; Five Senses, another embodiment of the theme of “Circles and Cycles” in Cook’s work which has mythological overtones; and finally Virasat Curved, a juxtaposition of fluid movement and its translation into rigid geometric forms. These four sculptures reflect the versatility of Cook’s work in terms of size and subject matter, as well as his unique and cerebral sculptural rhetoric.