D a v i d  H a l l

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The five 'gallery' pages show a small selection of work from the last forty years. Most of the quotes are extracted from texts listed in the bibliography page.


Runway Photo-piece 1967

From a continuing series of photo-pieces started in the mid-1960s

'The sculpture I made in the '60s was photographed, though two dimensional pictures said little about my work. If people didn't see the sculpture they more or less believed they had if they saw the photographs. They made judgements about it, they had grown used to that from looking at images. I decided these were probably more important than the sculpture so I began making photographic works.. Then I decided the illusion was even more convincing when there was movement and sound - marking the passage of time, and I started to make films. But I used illusion only as a means to see itself. If I had denied it altogether it would be convenient and 'true' to the mechanics and process of film, but illusion would still be there because people wanted it to be. They expected that from looking at films. I was interested in their expectations, but didn't necessarily want to give them what they might expect.. Soon I became interested in television. TV as a medium, and its offspring video, was a different proposition. Viewing TV was not a special event with a captive audience like film, but it reached everyone... with TV people mostly got what they expected... and my interests in film transposed to TV, but the context was very different and the work had to respond to that...' DH, from notes for Structures, Paraphernalia and Television, Signs of the Times cat., Museum of Modern Art, Oxford 1990.

Displacement (Removal Piece) 1970

British Sculpture out of the Sixties, Institute of Contemporay Arts, London

'In 1970 I made (un-made) my last sculpture, certainly of that kind, at the ICA exhibition British Sculpture out of the Sixties. At the same time there was a show in Japan, the other side of the world, where I had sent one of my earlier floor sculptures. At the ICA I delineated the precise shape of the piece sent to Japan on the gallery floor. It was a painted floor, and having delineated the shape I sanded away the paint. So I didn't put anything into the gallery, I took something out, I took the paint out. People came to see the show and were standing in the area looking at other sculptures, not noticing it often, which in a way I enjoyed - it gave it a completely different dimension ...' DH, interview by Stephen Partridge, Transcript magazine vol 3, issue 3, 1999.

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Vertical Photo-piece 1968

Copyright © the authors and Debi Hall