"Even by art world standards it was an exceptional setting for a sculpture show. Clearwell Caves form part of a network of natural limestone caverns located more than 100 feet below the ancient Forest of Dean in the far west of England. They have been mined for their natural deposits of iron ore and natural ochre pigment for nearly 5,000 years; art historians, meanwhile, believe that Michelangelo used Clearwell's rare caput mortuum purple for his frescoes in the Sistine Chapel."
"Kingdon is famously discreet about who he works with-some artists want us to believe they did it all themselves-but name any major project requiring casting, fabricating and more recently digital imaging and printing, and it's very likely to have been made using Pangolin expertise. "We work to make the technique fit the artist's concept and their language: we are not the artist, we are the enabler, and that's a huge privilege," is how Kingdon modestly describes its role."
Clearwell Caves are natural limestone caverns over 100 feet below the Forest of Dean that have been mined for iron ore and ochre pigment for nearly 5,000 years and provided caput mortuum purple linked to Michelangelo. Back to the Cave: The Full Spectrum occupied tunnels and chambers with about seventy works by contemporary artists including Damien Hirst, Antony Gormley, Tavares Strachan, Maggi Hambling and Sarah Lucas, alongside late figures such as Lynn Chadwick. Rungwe Kingdon and Claude Koenig organised the exhibition; they co-founded Pangolin Editions, a major sculpture foundry that casts and fabricates works for leading artists. Many of the exhibited pieces were produced at Pangolin's foundry near Stroud, where the company emphasizes fitting technique to each artist's concept and acting as an enabler.
Read at The Art Newspaper - International art news and events
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