Charles Hadcock

Charles Hadcock was born in Derby in 1965 and now lives in the North West based in Lancashire. He studied fine art at the Royal College of Art, London (1987-89), specialising in sculpture.  In April 2007 he was a recipient of the Queens Award for Enterprise Promotion. In 2008 was made a fellow of the RBS. In 2014 he was commissioned as a Deputy Lieutenant of Lancashire.

Hadcock’s monumental sculpture reflect his interest in geology, engineering and mathematics and are enriched by references to music and poetry.

Aspects of the natural world and geology lie in combination within Charles Hadcock’s work, openly, or as hidden jewels. Finding that forms observed within the natural world are often the source for solving practical design problems, Hadcock, has utilised this both at first- and at second-hand. His direct observation of rock surfaces, for example, has provided sources for the surface of his sculptures, while at second-hand he has appropriated items such as designed or engineered solutions for packaging, and machinery of various types. These, cast in other materials become components for his sculptures.

Mathematics comes to the fore in planning how a sculpture will work. A curve drawn with a free hand on paper requires more than just good will to make it work in solid three dimensions. Calculating how a sculpture can be segmented into identical shapes, so that casting from a single form may be achieved with economy, needs a mathematical mind. This may sound a stultifying process, but Hadcock works it with visual vitality, so that the sculpture remains free and dynamic, unrestrained and immediate. He works creatively with number, as in Fibonacci numbers and the Golden Section, based on his own body height in many of his sculptures. The multiple, whether made by Hadcock or appropriated by him from elsewhere, emerges in his work.

Because of his abiding interest in engineering and industrial processes, Hadcock prefers to work with industrial companies rather than fine art foundries, for portions of his sculpture are to be as anonymous as factory made items. The eye and hand of the artist is to be found more in his choice of parts and in locating them within the whole sculptural structure, and in the essentially magical element of intuition.

Ann Elliott

Independent curator