View of “Simon Carroll,” 2014. All Untitled, 2002.

View of “Simon Carroll,” 2014. All Untitled, 2002.

Simon Carroll


View of “Simon Carroll,” 2014. All Untitled, 2002.

Establishing a studio in a Nissen hut in Cornwall, UK, allowed Simon Carroll (1964–2009) the opportunity to begin making drawings the size of a soccer field with specially adapted rakes on the nearby beaches. These gigantic drawings, eventually washed away by the tides but documented in photographs and videos—the latter included in a room-size retrospective at the Victoria and Albert dedicated to his work—display the ceramicist’s spontaneous and experimental spirit. Though smaller in size, his ceramics are just as ambitious in their own way. A fan of Abstract Expressionist painting, Carroll also appreciated the color and gestural freedom of the ceramicists who were directly influenced by them, especially Peter Voulkos and the Otis clay group in Los Angeles in the late 1950s. Less funky than the work of these predecessors, Carroll’s evinces a deeper engagement with the

to keep reading

Artforum print subscribers have full access to this article. Please sign in below.

Not registered for Register here.

SUBSCRIBE NOW and save up to 65% off the newsstand price for full online access to this issue and our archive.

Order the PRINT EDITION of the October 2014 issue for $17 or the ONLINE EDITION for $5.99.

* This rate applies to U.S. domestic subscriptions.