Alexia Goethe Gallery is pleased to present Atom vs. Super Subject,
Nick Hornby’s first solo exhibition in London, featuring a series of
new multifaceted sculptural works.
Hornby practices sculpture as inquiry, challenging the icon with its own
evocative, metonymic fragment: white abstract sculptures, ranging in
size from the small bust to the public monument, from the intimate to the
For each piece, Hornby coerces unwitting sculptures to cohabit a single
space: a portrait from the V&A, a Henry Moore figure, Elizabeth Frink’s
Riding Man. Virtualised on a computer, Hornby superimposes these threedimensional
forms, then cuts them by machine and finally casts a single
object. Each finished sculpture is derived from the physical intersections
of such overlapping source material. So, as the viewer circulates the
object, recognisable fragments snap into view before dissolving back into
abstraction. It is as if the artist gives us a puzzle: we are left to dissect
an amalgam of sources, processes and constructions, piled around an
imaginary meeting point.
Where does an idea come from? Is it the sum of many other ideas? Is it
always borrowed or stolen? The artist insists on a practice that is as much
conceptual as it composed - cast in questions just as much it is made of
plaster, jesmonite, resin or fibreglass: Is an artwork always the divisible
sum of its parts or can it become so cooked that you lose sight of its
origin? Can a hybrid of two things become something new? A synthetic?
After the inquiry, what remains is the object: gleaming white curves,
acute angles and high arches. The artist chooses the V&A portrait for
its decorative base, Frink’s Riding Man for its tall legs, and Moore for its
smooth enormous lines. The end is formal – that same goal as 100 years
previously: finding a point between figure and abstraction, counter-point
and balance. The citations are not a critique but an act of camaraderie.
Nick Hornby lives and works in London. He has been recently shortlisted for the 2010 inaugural
Spitalfields Sculpture Prize. In 2009, he was described by ES Magazine as “The New Gormley”
and picked for the Evening Standard “Who to Watch, 2010”. Recent projects include, ‘Walking
in Our Mind’ at the South Bank Centre, and ‘The Ghost in the Machine’ at the Tate Britain
Triennial exhibition, Altermodern. Prizes include the Clifford Chance Sculpture Prize, the Deidre
Hubbard Sculpture Award, the BlindArt Prize. He was also shortlisted for the Mark Tanner
Sculpture Prize chosen by Guest Selector Cornelia Parker.
For further press material please contact the gallery on 00 44 (0) 20 7629 0090 or via email at