Gate II, Palmyra, 2015
Gate II, Palmyra, 2015
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burnished stainless steel
138” x 50” x 30”
Provenance:
13th Street Winery Permanent Collection since 2018
Literature:
This sculpture is part of Bentham’s Gate Series, a series that developed since the completion of his commissioned sculpture of Northridge Developments. The original work was designed to incorporate a stylized image, drawn from the company’s logo, as a lintel above a gate-like opening.
While formally his work flows out of the Modernist tradition, each individual series alludes to something more specific, often found in nature or literature. Bentham's sculptures are typically composed of stainless or corten steel although he regularly experiments with other materials including wood, brass and bronze. Of particular interest to Bentham is the tactility of his materials, which are locally sourced from metal dealers. He lets the character of the metal guide the direction and inspiration for his works.
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About Douglas Bentham
Canadian sculptor Douglas Bentham (b. 1947) produces abstract sculpture in various mediums, primarily in steel, stainless steel, bronze/brass and wood. He creates his unique objects in scales ranging from monumental pieces to works that can be held in the hand. Bentham’s sculptures are represented in the collections of numerous public institutions across Canada. His process of working is rooted in the Modernist tradition, embracing growth and transformation.
Douglas Bentham has maintained an international reputation as a major practitioner of abstract, constructivist sculpture for over forty years graduating with a BA Advanced degree in painting from the University of Saskatchewan in 1969. He received an MFA in sculpture from that institution in 1989, working alongside eminent artists/teachers Eli Bornstein and Otto Rogers. He has contributed to many international artists’ workshops throughout his career, including the Emma Lake Artists’ Workshop, Saskatchewan, Canada; the Triangle Artists’ Workshop, New York, US; and the Hardingham Sculpture Workshop, Norfolk, UK. He has presented over fifty solo exhibitions across Canada, notably a nationally travelling exhibition organized by the Art Gallery of York University, Toronto, ON, in 1975, and a ten-year survey exhibition at the MacKenzie Art Gallery, Regina, SK, in 1980.
“I’m only satisfied with a work of art when the original concept becomes transformed by its making. I enter into a kind of prayer with the material with the goal of creating a rhythm that will carry me through many days in the studio. I address several pieces simultaneously, always on the edge of seeing the art in unexpected ways, allowing it to assert itself by my presence. Collage lends itself best to this process by being so open-ended, so agreeable to rapid change.”
