Image["Terry New, Photographer: Henryk Hetflaisz"]
Terry New studied art from the age of 13, first at Junior Art School then at Hornsey College and the Royal College of Art. He has exhibited his work across Britain and in France, Italy, Switzerland, the United Arab Emirates and Australia.
New credits his time in Australia with shaping his sculpture today – a period which answered a need for “my own work to be more expansive, to include my feelings as well as my intellect, and to draw on the visual world around me in a more direct way”. His work bears the influence of the Antipodean landscape, and the lasting impression of what New terms its “primordial power”: the overwhelming sense of insignificance at being totally at the mercy of natural forces. New’s sculpture is concerned with the feelings and emotions such landscapes inspire in the imagination, rather than merely the appearance of the natural environment – a sensibility that shapes the “new reality” his work seeks to form.
Nidus II explores an interplay between symmetry and asymmetry; a dialogue between three layers, which articulates the motif of the oval in very different ways. The two floated slabs of iron are pinned down by welded rods, echoing half the form which nestles between them. The three-dimensional form surmounting the structure is punctured by an oval void, which becomes the centre of the dialogue. The furrows radiating outwards not only describe the surface of the work, but also disrupt and hide the modelled form, and the overall experience is of a form nestling and yet emerging. Cleft is a vertical play on the motif used in Nidus II; the upright structure invites an interpretation alternating between landscape references and those of natural forms such as seeds and pods found in Australia. The top form rests on a small section of a truncated oval shape, implying an echo of the above structure and suggesting a form which continues below the ground.
Photo of Terry New: Henryk Hetflaisz