-
Charles AveryUntitled (The Shape of Things to Come), 2017Bronze, card, brass, silver plating, stainless steelHat: 43.5 x 22 x 24 cm | 17 1/8 x 8 5/8 x 9 1/2 inSold
Bust: 43.5 x 27 x 27 cm | 17 1/8 x 10 5/8 x 10 5/8 in
Plinth: 89 x 66.5 x 68 cm | 35 1/8 x 26 1/8 x 26 3/4 in
Total: 165 x 70 x 70 cm | 65 x 27 1/2 x 27 1/2 in -
Charles AveryUntitled (Inner Circle, Onomatopoeia Zoo), 2016Pencil, acrylic, gouache, watercolour, collage and ink on paperUnframed: 203.5 x 338 cm | 80 1/8 x 133 1/8 in
Framed: 216.5 x 352.7 x 10.2 cm | 85 1/4 x 138 7/8 x 4 in -
Charles AveryUntitled (Pool), 2013-2014Bronze, metal, hand-blown glass54.7 x 330 x 330 cm | 21 5/7 x 129 6/7 x 129 6/7inches
-
Charles AveryUntitled (The Shape of Things to Come), 2017Acrylic, ink and pencil on paperFramed: 90.2 x 63.5 x 4.4 cm | 35 1/2 x 25 x 1 3/4 in
-
Charles AveryUntitled (Fishermen returning from the Memory of Consciousness), 2016Pencil, ink, acrylic, watercolour on paper mounted on linenFramed: 69 x 53.9 x 5.7 cm | 27 1/8 x 21 1/4 x 2 1/4 in
-
Charles AveryUntitled (Egg Eating Egret bar), 2017Pencil, ink, acrylic, collage and watercolour on paper mounted on linenUnframed: 57.5 x 41 cm | 22 5/8 x 16 1/8 in
Framed: 65.4 x 48.6 x 5.7 cm | 25 3/4 x 19 1/8 x 2 1/4 in -
Charles AveryUntitled (Three Significantes), 2017Bronze patinated white, aluminum, acrylicHat: 46 x 46 x 11 cm (tbc)
Bust: 30 x 23 x 19 cm (tbc)
Total: 142 x 255 x 61,5 cm | 55 7/8 x 100 3/8 x 24 1/8 in -
Charles AveryUntitled (Che Sara Sara Sara), 2017Acrylic, ink and pencil on board, framedFramed: 104.1 x 74.6 x 4.8 cm | 41 x 29 3/8 x 1 7/8 inSold
-
Charles AveryUntitled (Ninth Stand with Urchins), 20171 + 1
Glass, steel, found containers, fabric, brick132.1 x 183.5 x 127 cm | 52 x 72 1/4 x 50 inSold -
Charles AveryUntitled (View Towards the Sea of Clarity), 2008Ink and watercolour on paperFramed: 52.4 x 67.3 x 3.2 cm | 20 5/8 x 26 1/2 x 1 1/4 inSold
-
Charles AveryUntitled (Wallpaper perfect form) , 2014Wallpaper900 x 68.5 cm | 354 3/8 x 27 inSold
-
Charles AveryUntitled (Study for Passenger Liner on the Sea of Clarity), 2009Pencil and watercolour on paperUnframed: 57 x 84 cm | 22 1/2 x 33 1/8 inSold
Framed: 62.2 x 87.9 x 3.5 cm | 24 1/2 x 34 5/8 x 1 3/8 in -
Charles AveryUntitled (Three bathers at Invisible waters), 2015ink and watercolour on paperFramed: 91 x 121.3 x 10 cm | 35 7/8 x 47 3/4 x 4 inSold
-
Charles AveryUntitled (Tourist, fisherman with mudfish), 2015Pencil, acrylic, watercolour and ink on paper mounted on linen
Paper size: 81.1 x 106.6 cm | 31 7/8 x 42 inSold
Framed size: 92 x 117.5 x 10 cm | 36 1/4 x 46 1/4 x 4 in -
Charles AveryUntitled (Two guys poolside), 2016Watercolour, acrylic, pencil and ink on paper mounted on linen, framedUnframed: 41.4 x 29.7 cm | 16 1/4 x 11 7/8 in
Framed: 52.1 x 40.3 x 5.7 cm | 20 1/2 x 15 7/8 x 2 1/4 in -
Charles AveryUntitled (Visit the Jadindagadendar), 2016Pencil, ink, acrylic, watercolour on paperFramed: 121.3 x 89.5 x 3.8 cm | 47 3/4 x 35 1/4 x 1 1/2 in
-
Charles AveryUntitled (Lantern), 2016Bronze, copper, perspex rods, ebony feet, LEDs250 x 100 x 75 cm | 98 3/8 x 39 3/8 x 29 1/2 inSold
-
Charles AveryUntitled (Study for Egg Eating Egret), 2017Acrylic and pencil on paperFramed: 81 x 57.5 x 3.2 cm | 31 7/8 x 22 5/8 x 1 1/4 inSold
-
Charles AveryEgg Eating Egret, 2011Bronze, enamel paint and an egg
74 x 20 x 28.5 cm
29 1/8 x 7 7/8 x 11 1/4 in -
Charles AveryUntitled (Distance at a Distance), 2017Ink and pencil on paperFramed: 71.4 x 53.7 x 3.2 cm | 28 1/8 x 21 1/8 x 1 1/4 in
-
Charles AveryUntitled (The Momentary Man Gang), 2017Acrylic and pencil on paper, framed72 x 54 cm | 28 3/8 x 21 1/4 in (unframed)
89.4 x 62.8 x 3.4 cm | 35 1/4 x 24 3/4 x 1 3/8 in (framed) -
Charles AveryUntitled (Design for an Enclosure, Onomatopoeia Zoo), 2017Ink and pencil on paper, framedUnframed: 99 x 61.5 cm | 39 x 24 1/4 in
Framed: 101.5 x 64 x 4.4 cm | 40 x 25 1/4 x 1 3/4 in -
Charles AveryUntitled (Dha idol), 2017316 marine grade mirror polished stainless steel47 x 32 x 23 cm
18 1/2 x 12 5/8 x 9 1/8 in -
Charles AveryUntitled (Plan of Inner Circle, Onomatopoeia Zoo), 2017Ink, pencil, watercolor and acrylic on parchment mounted to board, framedUnframed: 119 x 88.8 cm | 46 7/8 x 35 in
Framed: 123 x 93 x 4.4 cm | 48 3/8 x 36 5/8 x 1 3/4 in -
Charles AveryUntitled (Globe), 2017Antique globe, acrylic on gesso base77 x 41 x 41 cm | 30 1/4 x 16 1/8 x 16 1/8 in
-
Charles AveryUntitled (Plan of Staircase going through three levels, Inner Circle, Onomatopoeia Zoo), 2017Ink, pencil, watercolor and acrylic on parchment mounted to board, framedPaper size: 78 x 58 cm | 303/4 x 227/8 in
Framed size: 80.5 x 60 x 4.4 cm | 313/4 x 235/8 x 1 3/4 in -
Charles AveryUntitled (Eel Seller), 2017Acrylic, ink and pencil on paperFramed: 64.8 x 90.2 x 5.7 cm | 25 1/2 x 35 1/2 x 2 1/4 in
-
Charles AveryUntitled (Four figures and table with 3 chairs, pool Onomatopoeia zoo), 2017Pencil, ink, acrylic and water colour on paper mounted on linenUnframed: 88 x 67.5 cm | 34 5/8 x 26 5/8 inSold
Framed: 96.8 x 76.2 x 5.7 cm | 38 1/8 x 30 x 2 1/4 in -
Charles AveryCarafe with Spoots, 2017Hand blown glass
Edition of 6 + 2Carafes: 47.9 x 8.3 x 12.4 cm | 18 7/8 x 3 1/4 x 4 7/8 in
Spoots: Varied, approximately 14.6 x 8.9 x 8.9 cm | 5 3/4 x 3 1/2 x 3 1/2 in
Since 2004, the Scottish artist Charles Avery (1973, Oban) has dedicated himself to the invention of an imaginary island, new corners of which he continues to chart through drawings, sculptures, texts, ephemera and (more rarely) 16mm animations and live incursions into our own world. Known only as ‘the Island’, Avery’s wave-lapped realm is not only a vividly realised fiction, teeming with sights both strange and strangely familiar, it also operates as a petri dish in which the artist tests ideas from the fields of epistemology, aesthetics, mathematics, economics, anthropology, architecture, and beyond. As Avery has said, the Island – with its fantastical flora and fauna, its eccentric cosmology and customs – is ‘a place that helps me to think’.
These Waters, Avery’s first major solo exhibition in the US, takes liquid as its organising principle, from the seas that surround the Island and its spiraling archipelago of islets (mapped on the dark orb of Islanders Globe (2017), to the draughts of liquor that lubricate philosophical debate in its numerous bars and pubs (poured, perhaps, from the bird-like neck of Untitled (Carafe) (2014). In a series of drawings, we see tourists from Triangland, an analogue of our own reality, bathing in the rock pools and sandy shallows that abut the Islands’ shores, their toes tickled by ‘ninth’ – sacred, eel-like creatures that might be understood as both the embodiment of the drawn line, and of the point where pure, mono-directional will converges with destiny. These creatures reappear in the sculpture Untitled (Pool) (2014), where their dark, glassy forms gather around a plughole in an ornate bronze tub, the centrepiece of the Island’s (determinedly inorganic) public gardens, the Jadindagadendar. Watched over by a curious egret, these primitive beings nose blindly about, trapped inside a universe-within-a -universe-within-a-universe, unable to respond to the instincts that propel them ever forward.