The Italian artist Paolo Canevari moved to New York in the 1980s, when he was just 25 years old. Working a job as Nam June Paik’s assistant, he was catapulted into the Big Apple art world. In the 90s, Canevari began work on his rubber sculptures, which laid the foundation for his later work. Today he transforms everyday materials into large-scale installations, using modest means to create conceptual and visually poetic work. “[We] always think of sculpture as something very solid, three-dimensional, and imperative,” he said in 2010. “It is not so. The Greek Colossus of Rhodes, for example, was a gigantic sculpture which may never have actually existed. I often say that memory is the greatest monument. The memory of the Colossus of Rhodes has exceeded its material semblance.” In Canevari’s first major solo show in the U.K., works from the last 30 years of his practice are on display. —E.C.
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