Restless, fluid, ever-changing: Hayward Gallery’s latest offering When Forms Come Alive is a rapturous exploration of sculpture spanning the last 60 years.
When Forms Come Alive begins with two mesmerising installations. Firstly, DRIFT’s Shylight sees balls of light, veiled by delicate fabric, gracefully float and rise from the ceiling reminiscent of ethereal jellyfish dancing in the depths of the ocean. A little further in, large clouds of foam gradually overflow trays in Michel Blazy’s Bouquet Final. On both counts, visitors stand entranced by the hypnotic rhythms of the installations.
Moving further into the exhibition, viewers encounter the sculptures of Marguerite Humeau. Among her trio of sculptures stands The Holder of Wasp Venom, a mesmerising creation that both captivates and unnerves. As visitors approach the sculpture, they are greeted by the scent of beeswax and a faint humming noise that reverberates in the background, transporting them to a realm where the boundaries between the organic and the synthetic blur. Composed of layers of mushroom-like forms adorned with hexagonal patterns reminiscent of honeycomb, the sculpture exudes an otherworldly beauty. Yet, upon closer inspection, viewers are confronted with a vial of wasp venom adorning the top of the sculpture, a reminder of the fragility of existence and the precarious balance between creation and destruction.
Finally, ascending to the upper galleries, visitors are greeted by a riot of pink hues, with works by artists Phyllida Barlow, Franz West, and Nairy Baghramian commanding attention. Among the highlights is Franz West’s Epiphanie an Stühlen (Epiphany on Chairs), a whimsical creation that challenges conventional notions of art and its transformative power. Two chairs invite viewers to contemplate a huge pink sphere adorned with spikes, suspended above them like a celestial body. Through its playful juxtaposition of mundane objects and fantastical elements, West’s work invites viewers to reconsider their preconceptions of art and its ability to provoke introspection and revelation and rather, just enjoy it. The perfect ending to such a jubilant exhibition.
When Forms Come Alive is a captivating exploration of the intersection between form and flux. Through a diverse array of immersive artworks, the exhibition invites viewers to contemplate the beauty and complexity of the world around them, challenging them to consider sculpture in a new light. When Forms Come Alive offers a glimpse into a world where the static becomes dynamic and the mundane becomes extraordinary.
When Forms Come Alive is showing at Hayward Gallery until 6th May. Further information and tickets are available here.
Featured Image: Franz West. Epiphany on Chairs, 2011. Photo: Michaela Obermair/Atelier Franz West © Archiv Franz West, © Estate Franz West.
Review by Amy Melling
Amy is a Curator and Creative Producer whose practice is centred around community-led arts projects. Her current research is focused on curatorial methods for exhibiting artworks outside. Amy has a keen interest in the arts and recently completed an MA in Curating and Collections at Chelsea College of Arts, UAL.
Read Amy’s latest review Women in Revolt at Tate Britain
