The archive of David Dye (1945-2015), which the artist generously bequeathed to the Henry Moore Institute Archive of Sculptors’ Papers, comprises sketchbooks, drawings, films, presentation boards, photographs, negatives, project files and exhibition catalogues. This exhibition shows how he developed his interests out of sculpture into photography and film.
David Dye: Devices focuses on the dynamic first decade of his career, showing the development of his work from 1967 to 1977. It begins with Dye's time studying sculpture at St Martin’s School of Art, and from here examines the steps he took across media and highlights the concerns that charged his work.
As Dye wrote in an early notebook: ‘I had art history on one shoulder and the history of film on another.’ In this decade the artist used projectors, cameras, screens, mirrors and the human body in a variety of complicated configurations. Dye often referred to his works as ‘devices’ and this archival exhibition takes up this term, highlighting the ways in which he examined relationships between objects and spectators, manipulating their locations and exploring the poetics of projection and perception.
Early drawings for sculptures, photographs of sculptures reproduced in film-like sequences, and presentation boards demonstrate Dye's consistent exploration into relationships between artwork and spectator. His sculpture ‘Distancing Device’ (1970) coordinates the movements of the viewer, while films such as Mirror Films (1972), Towards/Away from (1972) and Blind Spot (1973) control the eye with careful precision.
Dye gained increasing public recognition for his work in the 1970s. Studio International covered his work, and he presented solo exhibitions at the Institute of Contemporary Arts (1972), Lisson Gallery (1975) and Robert Self Gallery (1976), as well as participating in group exhibitions including Young Contemporaries (1970), The English Avant-Garde (1971), The New Art (1972), Beyond Painting and Sculpture (1974) and Arte Inglese Oggi (1976). David Dye: Devices includes material related to these exhibitions, showing the contexts in which his work was being interpreted and appreciated in these years.