For this new body of work, I have made a series of conversations about materials with architectural space. How people walk through spaces, how they encounter what I make, how it is possible to make work to pause the world a little, is my imperative. At its core is one simple question: it is about what it means to belong in one place at one time.
—Edmund de Waal
Gagosian Beverly Hills is pleased to present new works by Edmund de Waal for his first solo exhibition in Los Angeles.
De Waal’s art and literature speak to his enduring fascination with the nature of objects, and the narratives of their collection and display. A potter since childhood and an acclaimed writer, his obsession with porcelain or “white gold” has led to encounters with many people and places that help deepen his understanding of the nature of the material. His latest book, The White Road: Journey into an Obsession (2015), traces the historical evolution of porcelain from its origin in Jingdezhen, China, through developments in Venice, Versailles, Dresden, Cornwall, and the Cherokee Country of South Carolina.
From simple pairs to complex multitudes of small objects, de Waal draws inspiration from many sources, including the poetry of Paul Celan and the musical compositions of John Cage. At the heart of this exhibition is a series of responses to the Schindler House on Kings Road in Los Angeles; a revolutionary building from 1922 by the Viennese émigré architect, Rudolph Schindler. For de Waal, the Schindler House is “improvisatory architecture,” which offered a new way of living and working, a new set of possibilities for materials, a new architecture for a new city. It was here that, according to de Waal, Cage “began to clear his mind.”
to light, and then return—: A Night of Poetry with Edmund de Waal, Elisa Gonzalez, Terrance Hayes, and Sally Mann
Gagosian presented an evening of poetry inside to light, and then return—, an exhibition of new works by Edmund de Waal and Sally Mann, inspired by each other’s practices, at Gagosian, New York. In this video—taking the artists’ shared love of poetry, fragments, and metamorphosis as a point of departure—poets Elisa Gonzalez and Terrance Hayes read a selection of their recent works that resonate with the themes of elegy and historical reckoning in the show. The evening was moderated by Jonathan Galassi, chairman and executive editor at Farrar, Straus & Giroux.
Axel Salto: Playing with FIre
On the occasion of the forthcoming exhibition Playing with Fire: Edmund de Waal and Axel Salto, Edmund de Waal composed a series of reflections on the Danish ceramicist Axel Salto and his own practice.
to light, and then return—Edmund de Waal and Sally Mann
This fall, artists and friends Edmund de Waal and Sally Mann will exhibit new works together in New York. Inspired by their shared love of poetry, fragments, and metamorphosis, the works included will form a dialogue between their respective practices. Here they meet to speak about the origins and developments of the project.
The Thinking Hand
Edmund de Waal speaks with Richard Calvocoressi about touch in relation to art and our understanding of the world, and discusses the new stone sculptures he created for the exhibition This Living Hand: Edmund de Waal Presents Henry Moore, at the Henry Moore Studios & Gardens. Their conversation took place at the Fitzwilliam Museum, University of Cambridge, in the context of the exhibition The Human Touch.
Artist to Artist: Edmund de Waal and Theaster Gates
Join the artists for an extended conversation about their most recent exhibitions, their forebears in the world of ceramics, and the key role that history plays in their practices.
Edmund de Waal: some winter pots
Join the artist in his ceramics studio as he describes the impetus behind his exhibition in London and the importance of touch in the creation of these new works.
Edmund de Waal
October 27–November 2, 2021
In his visual art and literary works, Edmund de Waal uses objects as vehicles for human narrative, emotion, and history. His installations of handmade porcelain vessels, often contained in minimalist structures, investigate themes of diaspora, memory, and materiality. Much of his practice is concerned with collecting and collections—how objects are brought together and dispersed—and with the application of craft and placement to the physical and conceptual transformation of interior space. Manifest across his work is a distinct aesthetic philosophy that puts the hand, touch, and thus the human above all else.
Photo: Tom Jamieson
Extended through January 30, 2021
Edmund de Waal
some winter pots
December 3, 2020–January 30, 2021
Davies Street, London