Richard Deacon CBE RA
Long in the Tooth 2023 (Toothmarks);
Teeth from Southern mammoth, Steppe mammoth and Straight-tusked elephant (c. 2,000,000 – 600,000 BCE), all made extinct in Happisburgh by historic climate change. They are mounted on partially fossilised wood from an ancient, flooded forest (c. 800,000 BCE) and granite pedestals.
Pedestal 1: Granite h: 45 d. 27 cm. Southern Mammoth Tooth (c. 2 – 1.5 Million BCE)
Pedestal 2: Granite h: 45 d. 27 cm. Sea-rolled Steppe Mammoth Tooth (c. 1 Million BCE)
Pedestal 3: Granite h: 45 d. 27 cm. Steppe Mammoth Tooth (c. 1 Million BCE)
Pedestal 4: Granite h: 45 d. 27 cm. Straight-Tusked Elephant Tooth (c. 600,000 BCE)
£9,000 each
“The four teeth describe a considerable stretch of time… they stand in for something that is now missing. Their disappearance was, in part, the consequence of climate change and of rising and falling sea levels, the evidence for which is powerfully present on the Norfolk Coast.” Richard Deacon
Listen to Richard Deacon explaining Long in the Tooth:
Richard Deacon is a celebrated British sculptor known for his innovative approach to form and material, and his boundary-pushing work earned him the Turner Prize in 1987. Deacon’s sculptures explore the relationship between shape, space, and texture, often combining materials in ways that create complex, organic forms. Throughout his career, Deacon has resisted categorization, consistently challenging the traditional notions of sculpture by experimenting with materials like wood, metal, leather, ceramic, and plastic. His creations range from monumental public installations to smaller, intricate pieces, each emphasizing craftsmanship and materiality.
A central aspect of Deacon’s work is his interest in the fluidity of form and his focus on the process of making, which he describes as “fabricating.” His works frequently display visible joints, seams, and bolts, offering a glimpse into their construction. This transparency emphasizes the sculptural process, encouraging viewers to consider not only the final form but the means by which it was created. Deacon’s work is often described as having a tactile, almost sensual quality, and his abstract forms frequently evoke associations with natural structures like bones, waves, or shells, inviting viewers to interact with the works in both visual and physical ways.
One of Deacon’s most notable works, *After*, is a sinuous wooden sculpture made of laminated, steam-bent wood that spirals upward. The piece demonstrates Deacon’s fascination with organic form and movement and exemplifies his technical mastery in manipulating challenging materials. In *After*, as in much of his work, Deacon emphasizes the balance between control and freedom, pushing materials to their limits while allowing the natural qualities of the wood to emerge.
In recent years, Deacon has continued to explore the expressive potential of different materials. His ceramic works, for example, involve complex shapes and glazes that bring out vivid colors and intricate textures, a notable departure from the more muted tones of his early wood and metal pieces. This continuous evolution in material and form has kept Deacon’s work fresh and relevant, and his influence on contemporary sculpture remains substantial.
Deacon’s contributions to public art are extensive, with installations in major cities worldwide, including the UK, Germany, and Japan. His work, though abstract, resonates universally, capturing the interplay between the human-made and natural, solidity and fluidity. Richard Deacon’s sculptural philosophy and approach to material manipulation have cemented his place as a major figure in contemporary art, whose works continue to intrigue and inspire new generations of artists and viewers.