David Reekie – The Abstract Figure in Glass

Shital Pattani reviews this contemporary glass exhibition featuring drawings and sculptures by one of Britain’s leading artists working in glass

Taking place at Norfolk’s Corn Hall in Diss (23 March-27 April 2024), this ‘Abstract Figure in Glass’ exhibition of David Reekie’s work masterfully provoked conversation, stimulating discussion by commenting on social and political issues both from a historical and present day perspective. The viewer had the privilege of seeing some of the development process behind the sculptures, which was incredibly insightful. Sources of inspiration, detailed comments written alongside reference material, newspaper cuttings, collages, photographs and historical citations were all carefully documented and displayed. This was a personal presentation, sensitive and representing the character of the artist.

Through his sketchbooks and larger drawings, Reekie illustrated his thought process further. Arguably, this was where the conversation between the artist, paper and the hand of action became animated.  Seeing these details, the visitors could step back and re-examine the sculptures in an informed way and have their own dialogues with each work.

The curation of the exhibition was thoughtful, beginning with a drawing. This ‘Self Portrait’ (1992) featured Reekie looking outwards with intent at the viewers, invitating them to explore his domain: a select group of sculptures covering a 20-year period, together with drawings.

At first glance the gestural and animated figurative sculpture ‘Marionette III’ (2013), seemed playful, but there was a darker message about how human beings are manipulated and pulled in different directions, with societal expectations and pressures influencing their decisions.

‘Point of Detail IV’ (2023) was an unassuming sculpture that possessed intensity; the lens of the artist was finely tuned, focused to clearly see all the details of the precariously balanced object in front. It was as if something was revealed as a result of the piercing concentration. As Reekie stated, ‘The longer you look, the more you see… It is all in the detail.’

In the upstairs exhibition, Reekie shared his expertise and knowledge of mould making and glass casting by exhibiting a series of photographs and models, enabling the non-glass community to understand and appreciate the labour of love involved in making these incredible sculptures.

This show was a revelation and brought the outsider into Reekie’s realm to witness and experience the world from his unique perspective. There was humour, there was playfulness with serious undertones and there was conversation between the works and with the viewer. The exhibition concluded with a final drawing from the ‘Point of Detail’ (2024) series, in which a reflective androgenous figure, bold and solitary but fixed with an intense gaze on the object of choice, commanded a powerful relationship between two unchanging points.

Shital Pattani is a freelance project manager/writer.

Read more about David Reekie in this CGS interview.

Image: ‘A Point of Detail I’ (2023) by David Reekie.