David Undery sculpture gallery

Neo-classical sculptor Thorvaldsen said “clay is the birth of a sculptor; plaster is the death of the sculptor and marble is the rebirth of the sculptor”. Today, artist David Undery believes that he has found euphoria in the afterlife that is concrete.

This young British sculptor has always had a fascination for the combination of the natural and the man-made.  Now, with his ever-growing passion for concrete and his intuitive understanding of its properties, Undery is launching an impressive new 3-dimensional collection of his unique art.  In this highly sculptural work, he skilfully succeeds in juxtaposing polished aggregates with his own perceptions and ideologies, revealing the optimistic value of the substance.

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Art which emanates from his studio, deep in the Hertfordshire countryside, is a true expression of his connection with nature, reflecting the recurring elements and forces that can be found in the seasons or the rhythmical motion of the ocean. Undery bases his inspiration on his life’s philosophy, “My aim is to correlate the cross between human-made and natural elements – the work is still very much about how the two should function together in harmony.  In this new series of art, patterns and repetitions of arcs, ellipses and circles are continuously in movement, representing a cyclical theme.  From a philosophical point of view, these shapes are very strong with no weaknesses, resembling the nature of concrete, its longevity and increased strengthening with age.”

Whilst inspired by his interpretation of nature’s powerful and sometimes primitive influences, he believes that modern technologies play an important role in the communication of his ideas.  His ability to combine high-tech computerised imagery with his own unique ideations, has led him to win several prestigious commissions with interior designers in the heart of London and across the UK such as the prestigious Perspective Penthouse Suite at 100 Westminster Bridge Road, which overlooks London’s Millennium Wheel; up-market offices in Buckingham Palace Road; plus impressive Barristers’ Chambers opposite the capital’s Royal High Courts of Justice.

Against the constant bombardment of sensory overload from TV and media, Undery strives to create concrete art which is elegantly pure, simplistic and reflects his ethos in life – namely that all things, natural and man-made work in a harmonious cycle.  The physical carving and moulding of concrete gives Undery a real space to explore and demonstrate his ideologies.   This is not only vital to the understanding of how his sculpture challenges this building material and its structural concepts, it also inspires the aesthetic and, more importantly, reveals “life-living” theories in his work.

Having initially studied fine figurative art, Undery finds freedom in a medium that has no bounds on colour, texture, shape or form. Spoilt for choice in the creative inspiration provided by concrete, Undery describes the dilemma of his imaginative process as “not what to do with the concrete, but what not to do!”  This artist believes the secret of his success lies in his passion for a substance which many believe to be cold and uninteresting.  “I am fascinated by concrete - it presents endless opportunities for progressing my art.” he says.  “It has taken me ten years to develop work which is strong, slim-line and lightweight.  Concrete is perceived to be heavy!  I employ the ultimate in industry technology in order to keep the weight down, making handling more manageable and installation easier. Some pieces can even be hung on a picture hook and are no heavier than a good quality mirror.”   Specialised lightweight reinforcing materials give a firm built-in framework for the wall sculptures which range in size from around 1m x 2m downwards. 

To achieve the colour, integral throughout each piece, pigment is added early on in the mixing stage.  Where commissions are undertaken, achieving the correct final shade-match requires experience and sound knowledge of pigments.  Cured concrete is treated with a measure of high strength acid etching, which further embellishes the surface colour.

Once the ‘concrete canvas’ is prepared, hand-carved sculpting techniques are used to create textured finishes – these can take the form of geometrical designs.  Where there is an inlay of wood or metal, a recess level is first carefully and intricately hand-chiselled to house its exact shape and depth.  These processes are fundamental to the aesthetics of the finished artwork, and as such require painstaking skill and artistry.

Placed somewhere in between the genres of painting and sculpture Undery’s inimitable relief wall panels reveal an inner soul fired by an abundance of ideas. Each piece bears no title, only a serial number – thus, negating the compulsion to attribute a subject which might cloud the perception of the viewer.  Undery has a flair for clarity of vision and innovation. His unconventional and unique approach to contemporary art is widely appreciated.  Already at the age of 31, Undery is well established as one of the UK’s top concrete artists and over the past 10 years has become recognised in a number of fields. His inimitable talent for transforming concrete into art is reflected in his success at such exhibitions as London’s Affordable Art Fair, The Discerning Eye at Pall Mall Galleries and Chelsea’s ArtLondon.  Sought after in galleries throughout the UK, including Mayfair’s FarmiloFiumano, his work is also in private collections as far a-field as Europe and the USA.  

With such demand for original ‘Underys’, this season a new series of limited edition table sculptures is being released to art galleries across the UK. Incorporating the latest technology in fibrous reinforced concrete, this new concept makes original art available to a wider audience. The work embodies the architectural relationship between concrete, metal and wood, working in harmony to create something beautiful. The relief sculpture created by Undery is totally unique – lustrous, tactile, sensual, textured and emotive.