Unstoppable, the excellent BBC documentary on Sean Scully that aired in April, charts the Irish-born abstract artist’s rag to riches rise, his outsider status in art world, his complex private life and his Catholic roots. Not since his primary school days at a convent in London, will the 73-year-old have found himself so regularly in front of the altar as he does next month, with the opening of a solo exhibition, entitled ‘Human’, at San Giorgio Maggiore church during the 58th Venice Biennale.
New sculptures, paintings, drawings, and watercolours inspired by the monks, their vast collection of manuscripts and the famous church itself (designed by Andrea Palladio in 1575, it is one of the city’s finest) will go on show. They occupy every nook and cranny; Opulent Ascension is a ten-metre high sculpture of stacked frames wrapped in felt, which rises up through the central dome. In the choir behind the altar sits Scully’s vast manuscript of watercolours, while eight paintings from his abstract Landline collection form a procession to the water outside.
RELATED STORY
‘In many of my painting there is a ladder-like motif,’ says the artist, who has often claimed his work can serve as a conduit between the physical world and the spiritual one. Raised a Catholic, the ecclesiastical location of the show is loaded, he says, ‘But we have had history, so everything is loaded, isn’t it? I’m not a purist. I don’t see the materialism of the church, the robes and opulence, as a contradiction.’ Additional works are scattered throughout the island’s gardens and the church’s adjoining buildings. Among them is a candelabra that holds one giant candle and a triptych entitled Madonna of his son and fourth wife. ‘It’s a very atmospheric space; the works create a powerful sense of silence,’ says Scully, who has also included the monks in his production. As the island’s only residents, they are cooking a dinner of their homegrown produce on the opening night.
San Giorgio Maggiore Opulent Ascension, 2019, by Sean Scully.
Madonna Triptych, 2018, by Sean Scully.
Window Beneath, 2017, by Sean Scully.
Landline Black Veined Oisin, 2017, by Sean Scully.
INFORMATION
‘Human’ is on view 11 May – 13 October. For more information, visit Sean Scully’s website
ADDRESS
Church of San Giorgio Maggiore
30133 Venice
-
A new Oxford Street pop-up celebrates IKEA's blue bagsIKEA's iconic blue bag gets its own pop-up concept store, the 'Hus of Frakta'.
-
Audemars Piguet and Kaws have created the Royal Oak Concept watch we didn't know we neededThe Audemars Piguet x Kaws Royal Oak Concept Tourbillon 'Companion' is slick wrist-worn art
-
A friendly rivalry coloured by kinship: Wendy Maruyama and Tom Loeser on their two-artist show'I wanted to make furniture, just not traditional furniture, but weird furniture,' says Wendy Maruyama on ‘Colorama’, a two-artist show presented at design gallery Superhouse (until 11 January 2025)
-
Henni Alftan’s paintings frame everyday moments in cinematic renditionsConcurrent exhibitions in New York and Shanghai celebrate the mesmerising mystery in Henni Alftan’s paintings
-
Inside Jack Whitten’s contribution to American contemporary artAs Jack Whitten exhibition ‘Speedchaser’ opens at Hauser & Wirth, London, and before a major retrospective at MoMA opens next year, we explore the American artist's impact
-
Don't miss Luxembourg's retro-futuristic lab pavilion in VeniceAs the Venice Biennale enters its last few weeks, catch 'A Comparative Dialogue Act' at the Luxembourg Pavilion
-
Frieze Sculpture takes over Regent’s ParkTwenty-two international artists turn the English gardens into a dream-like landscape and remind us of our inextricable connection to the natural world
-
‘This blood that is flowing is my blood, and that should be a positive thing’: Tracey Emin at White CubeTracey Emin’s exhibition ‘I followed you to the end’ has opened at White Cube Bermondsey in London, and traces the artist’s journey through loss
-
Portrait of a modernist maverick: last chance to see the Jean Cocteau retrospective in Venice‘Cocteau: The Juggler’s Revenge’, celebrating the French artist's defiance of artistic labels, is in its final week at Peggy Guggenheim Collection, Venice
-
‘Everything human-made is of interest to me’: Hildigunnur Birgisdóttir in VeniceArtist Hildigunnur Birgisdóttir explores consumerism at the Icelandic Pavilion at the Venice Biennale 2024
-
‘Personal Structures’ in Venice is about ‘artists breaking free’‘Personal Structures 2024: Beyond Boundaries’ reveals a rich tapestry of perspectives on the challenges of our time, from culture to climate and identity
