1970 born London, England
Lives and works in Berlin, Germany
(fromVon Bartha Basel gallery) Terry Haggerty was born in London and studied at the Cheltenham School of Art, Gloucestershire. He has exhibited widely at galleries and museums around the world, including Sikkema Jenkins, New York; Max Hetzler, Berlin; Hammer Museum, Los Angeles; Aldrich Museum, Conecticut; and PS1, Long Island City. Commissions include wall drawings for Dallas Cowboys Stadium, Munich Re, London, and private collections in the US and Germany. Haggerty is the recipient of several awards including the For-Site foundation Award(2009), John Anson Kittredge Award (2003); and the Natwest Art Prize (1999). The concept of the trompe-l’oeil; the interplay between reality and illusion, has always fascinated artists. In this way, with the simple gesture of curving lines, Haggerty is able to create complex illusions, garnering both volume and depth. The artist carefully considers ambiguous forms and likenesses, to familiar indicators of space such as ledges, edges, corner and gaps. Nevertheless, the viewer is not only drawn to Haggerty’s paintings as a result of the suggestion of plasticity, but also owing to their cool, smooth, machine-like surface perfection.
(from www.sikkemajenkinsco.com gallery) Terry Haggerty’s paintings and large-scale wall drawings are rooted in Minimalism’s elimination of non-essential forms, and in the phenomenology of optical illusion and perception put forth by Op art. The British-born artist, who currently lives and works in Berlin, is known for a body of work that Rosalind Krauss has referred to as the tangible representation of a “centuries old face-off between line and color.” Two-dimensional surfaces are covered in serial patterns of light and dark stripes, forming geometric compositions of almost industrial perfection. The artist’s handiwork lies in the edges and center of the paintings, where Haggerty disrupts the lines’ abstracted mechanical forms and bends them in an opposing direction. This gesture gives the pristine, flat surfaces an illusory, three-dimensional quality. With prolonged viewing, the abstract forms seem to shift and oscillate.