![]() ![]() ![]() You must make sure that plaster bits and or broken keys are not holding the plaster away from the lath. Failure to follow the directions could render unsatisfactory results. Plaster Magic® Adhesive must be used in combination with Plaster Magic® Conditioner as instructed ( see Instruction Sheet). The Plaster Magic® guarantee will not be honored if our instructions for its use are not followed as stated. Individual bottles of Plaster Magic® Conditioner are available for previous Plaster Magic® customers that need additional material to finish a project. is enough Conditioner to be used with 3-4 tubes of adhesive. Plaster Magic® customers that need additional material to finish a project.ġ6 oz. Individual bottles of Conditioner are available for previous Hepworth’s reflections on Yorkshire are crucial to artist Ro Robertson’s work, Between Two Bodies (2020).The Plaster Magic® conditioner is used prep the plaster and lath prior to injection of Plaster Magic® adhesive and to consolidate areas down to the lath in need of patching. Their work speaks to the violent exploitation of the environment and the impact of human activity that Hepworth and Moore saw in their youths and used as a reference point in their art. Two works by contemporary artists in Magic in This Country help visitors to see beyond a romanticised view of Yorkshire. The slag heaps which for me as a boy, as a young child, were like mountains. She contrasted it with visits to the Dales which were: “So magnificently shaped that the roads became … contours over a sculpture.”Ī huge natural outcrop of stone at a place near Leeds which as a young boy impressed me tremendously – it had a powerful stone, something like Stonehenge has – and also the slag heaps of the Yorkshire mining villages. Hepworth noted the “industrial devastation” in and around Wakefield, “where everything was so dark and so black”. When both artists were interviewed by American filmmaker Warren Forma in the 1960s, they each referred specifically to the juxtaposition of industrial and rural environments in West Yorkshire. In discarding its conventional representational purpose, Hepworth and Moore produced a type of sculpture that was, as art critic Rosalind Krauss put it: “ functionally placeless and largely self-referential”. The highly abstracted forms Moore and Hepworth favoured – while never fully abandoning association with the human body in Moore’s case, or becoming completely geometric in Hepworth’s – were based on ideas of a common object language that could speak across cultures. A recently opened exhibition in Wakefield, Magic in this Country: Hepworth, Moore and the Land, celebrates the connection between the two artists and Yorkshire. Not only did it prominently feature their shared birthplace of Yorkshire, but the paper’s clever headline echoed the ways their respective artistic identities had been moulded by their early lives.Īlmost half a century on, Yorkshire is home to two organisations that represent their legacies – the Henry Moore Institute in Leeds and The Hepworth Wakefield. ![]() When Barbara Hepworth died in 1975, fellow sculptor Henry Moore wrote an obituary in The Sunday Times with the headline, The Shaping of a Sculptor. ![]()
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