1917 - 1984
Following World War Two, Adams began to carve sculptures from wood. Working in the tradition of Moore and Hepworth, he used curled bud-like forms in his work. Here the slim rod and soft, organic shapes recall leaves or buds of flowers on a stem, made clear in the accompanying sketch 'Drawing of curved forms with a tendril of ivy, opus 113' (1960). Although Adams continued to use natural forms throughout his career, in 1949 he replaced his use of wood with metal. While teaching sculpture at the Central School of Art and Design in London Adams learnt how to weld and during the 1960s he produced constructions of steel sheets and rod elements, as found here.
As well as taking inspiration from the natural world, Adams was also interested in the links between art and architecture. A group of abstract painters formed around Adams: they included Victor Pasmore, Adrian Heath and Kenneth Martin with whom he exhibited between 1951 and 1956. He was sympathetic to the group's Constructivist aesthetics and shared an interest in capturing movement: “I am concerned with energy, a physical property inherent in metal, [and] in contrasts between linear forces and masses, between solid and open areas”. Armitage’s interests remained in shape and form, rather than politics, and during the 1960s and 1970s he continued to concentrate on creating “permanent symbols of an abstract kind, from which to apprehend nature”.
Estate of the artist
'Robert Adams', Gimpel Fils, London:1960, exhib.no.23
'Robert Adams retrospective exhibition', Arts Council of Great Britain; Camden Arts Centre (& touring):
'Robert Adams', Gainsborough's House, Sudbury, Suffolk: 08-30/07/78, exhib.no.6
'Robert Adams', Gimpel Fils, London: 20/01-13/02/93, exhib.no.27
'Robert Adams - A Retrospective', Gimpel Fils, London: 25/02-05/04/03, ex.no.12
Grieve, Alastair, 'The Sculpture of Robert Adams', pub.The Henry Moore Foundation in association with Lund Humphries, London: 1992, No.323 reproduced p.194