Lot 11

The item is in very good condition with no major areas of concern. The sculpture currently sits atop a wooden base, although it is not fixed. Overall height including wooden base is 36.5cm


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Private collection, Melbourne
Thence by descent

Gibson, E., The Sculpture of Clement Meadmore, Hudson Hills Press, New York 1994, p. 72 (illus. larger version)

Clement Meadmore is undeniably one of Australia's most recognised modern sculptors and designers. Working with large scale sculptures and smaller maquettes, his artworks are held in high esteem within public and private collections around the world, and his furniture designs frequently sought after by modernist collectors.
Growing up in Melbourne, Meadmore originally studied aeronautical engineering at the Royal Melbourne Institute of Technology (RMIT). Whilst this remained purely an academic achievement, the skills he learned during these studies greatly influenced his approach to furniture making as well as sculpture. In his 20s, Clement travelled abroad to England, France, Germany, and Japan after which his focus began to divert away from industrial design and further towards sculpture.
In 1960, Meadmore moved to Sydney where his output of sculpture increased dramatically and his work was exhibited, although not with the reception he had hoped for. The year prior, the Antipodean artist group had released their manifesto comdemning Abstract Expressionism. This approach to art amongst his peers frustrated Clement, and so rather than producing the work he wanted for an unreceptive market, Clement made the life-changing decision to move to New York City in 1963.
Within his first few years in New York, Clement's sculptures progressed into geometric variations mostly using rectangular planes and then towards the minimal and conceptual style being seen in America. His career proceeded on an upward trajectory from here, with his work traversing new ground. In the mid 1970s he pushed the boundaries again by introducing multidirectional forms, with elements moving in multiple directions, into his compositions. Meditation 1974 displays Meadmore's signature seamless fluidity. It's upward stance is beautifully interrupted by the smooth curve before returning to its vertical end and final blunt edge. It's smoothly machined edge and fluid lines lend themselves heavily to a Minimalist aesthetic. Meadmore was a lover of jazz music, which is not only seen in many of his titles but also the rhythym of his sculptures. Much like the music, there are unexpected bends, curves, and changes of direction.
Although he grew up in Australia, Clement Meadmore spent the majority of his life in New York where he eventually passed away in 2005. His work is still an important part of the dialogue on Modernist sculpture today, with a legacy that has extended around the world.

Olivia Fuller, Head of Art