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2010s

The possibilities and poetries of horizontality, which had long been a characteristic of Woodrow’s work — from the floor-bound photographs of the early 1970s to the Settlement sculptures of the late 2000s — were given a new and expanded lease of life in the 2010s. Woodrow’s imagination at that time travelled to the expanses of the Arctic and the Amazon rainforest, as seen in his Black and White (2012) works and Anaconda sculptures (2010-2012). It also travelled back and forth between...

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2000s

Woodrow had always been interested in the ways in which material objects could tell stories and in the 2000s this interest developed significantly. It was partly facilitated by the ongoing development of his ambitious project The Beekeeper, which had started in the late 1990s. The early 2000s saw the casting of several bronze and gold leaf bee swarm sculptures, such as Clockswarm (2001) and Celloswarm (2002). However, the main developments of the decade were five new bodies of work that combined...

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1990s

Woodrow had worked with metal for much of the 1980s, cutting into recycled domestic hardware to create his sculpture. The 1990s, however, saw him turn away from this approach and towards bronze casting. Woodrow was fascinated by the processes and poetries of bronze as a sculptural material: its transformatory potential, its reproductive capabilities and its long cultural history. In Woodrow’s hands, bronze was polished, patinated and gold-leafed, highlighting his interest in the relationships between metal, money, and history. This can...

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1980s

Woodrow’s object investigations continued into the 1980s. Found domestic appliances were sliced and spiked, their external surfaces and internal workings cut away and revealed. Old bicycles were unravelled and the skins of empty tin cans (their tops already taken off with a tin opener) were cut away to create new objects from their volumes. Woodrow’s cut-out sculptures, which were made using hand shears to cut into the metal, captured people’s imaginations. They were skilfully created as well as playful, transforming...

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1960s – 70s

The 1970s witnessed Woodrow’s often playful interrogation of the relationships between images and objects. Found objects were suspended between states and settings — captured in black and white photographic images in the landscape and installed as objects beside such images in the gallery. Illusory tricks of the eye were accompanied by gravity defying acts, as we find floating sticks and ropes caught on camera. Objects were also deployed as decoys and this conceptual mistrustfulness of material objects and their images...

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