StrayArt is a monthly column written by Johnny Messum, Director and Founder of art gallery and centre, Messum’s Wiltshire, London and Harrogate.  Johnny’s passion is for contemporary art and sculpture.

Each month he will look at art, exhibitions and events across Yorkshire and sometimes further afield with the aim of guiding and inspiring us.

It is a challenge to feel clear about the immediate future. We have new structures to adhere to, I have visors supplied for my team in the car, along with the NHS track and trace QR code to go in the window.

What should have been alongside me instead, was the formidable British sculptor, Bridget McCrum, whose family, the Bains, hail from Leeds. Now in her late eighties she was planning to come to the opening of her show in James Street.

Along the way I had imagined us discussing sculpture in the landscape, something that is taking on added dimensions, not least because it is one of the few places where we can safely view art without PPE, but also because it is, in itself, interesting and complex.

Amongst the myriad attractions of Yorkshire, the landscape has to rank amongst the highest. It is a daunting partner to duet with as a sculptor. There is nowhere this subject is more comprehensively demonstrated than at the Yorkshire Sculpture Park, where I went to see the work of a friend, Sean Henry, and of an artist I am showing in London, Jorgen Haugen Sorensen.

Set into the landscape there, each work takes its cue from the ground around it. I sometimes think that of all the artists, perhaps only local boy, Henry Moore, had the swagger to meet the rolling landscape toe to toe, so to speak. His work stands resolutely chest open to the wind and wilds.

A stunning life-size sculpture ‘Seated Figure’ by Sean Henry at Yorkshire Sculpture Park. Above picture and featured image credit: Jonty Wilde curtesy of YSP.

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The rule of thumb in placing sculpture in the landscape is one of scale and context. Seldom best placed in wide open spaces, they often prefer the same locations humans do, close to the house, in glades between shrubs or woodland corpses. This is seen well in the locations chosen in the Himalayan Gardens and Sculpture Park in Grewelthorpe, near Ripon, which is open to the public until November 1, 2020.

Utopia: A stunning vista of the Himalayan Gardens and Sculpture Park in Grewelthorpe.

Sculptures placed outside really come into their own in the autumn. They become the key focus until the verdant spring surges forward once more. It is the perfect time to head into the open air as the greenery falls away and the landscape itself becomes more architectural.

Do be careful though with the choice of materials; the weather does not spare sculptures any more than other objects, so stones need to be wrapped if it gets cold and on a hot afternoon rub beeswax into the exposed bronzes. Perhaps the artist who most willingly accepted the ravages of time is Cheshire-born artist, Andy Goldsworthy, whose work picks up and changes with the rhythms of the seasons.

Next time I shall be bringing the boat to harbour so to speak and talking about living with art in the house – combining old and new objects and thinking about ways of displaying artworks to their best advantage.

Messum’s Yorkshire is open from Thursday to Saturday 10am-5pm. For more information, visit the website by clicking here.

StrayArt is a monthly column written by Johnny Messum, Director and Founder of art gallery and centre Messum’s Wiltshire, London and Harrogate.  Johnny joined the family business Messum’s of London as a Director in 1999, after studying History of Art at Edinburgh University and working for Christie’s in London. Johnny’s passion is for contemporary art and sculpture. 

Each month he will look at art, exhibitions and events across Yorkshire and sometimes further afield with the aim of guiding and inspiring us. 

At a time when the high streets are in free-fall and we cannot congregate in numbers, we decided to open a new art space in James Street, Harrogate, in July. James Street is the perfect location with its tall, elegant buildings – isn’t it traditionally known as the Bond Street of the North?

Art steps forward in a crisis. Faced with the ongoing uncertainty within our large metropolis, it is in the art galleries, heritage sites and country houses up and down the country where innovation, inspiration and understanding can be found. With my father in the business since the 1960s, I have grown up surrounded by interesting artworks. I believe that we can all be moved by art, literature, music, and architecture – we just do not know when that moment will be – we can be swept off our feet at any moment. That is why it is important to make it a part of our lives.

It gives me great pleasure to contribute to the art scene here in Yorkshire and to share my insights with you once a month. Each week I am now covering 282 miles as I go from my gallery in Cork Street, London, to our tithe barn in Wiltshire and then on to central Harrogate. What could be easier than covering three far flung locations, united by a common purpose?

As I was nearing Harrogate, I passed the sign to one of my favourite places in Yorkshire – the church of St Mary’s in Nun Monkton. Inside the only surviving part of the 12th century Benedictine Priory, there is a hidden gem – a Pre-Raphaelite masterpiece, a stained-glass window made by William Morris and Edward Burne-Jones; with its glowing colours and flowing foliage. I recommend a visit as soon as churches are permitted to reopen.

Image of Virgin Mary and St Anne at Nun Monkton St Mary’s Church. Picture credit: George Westhaver.

I spent the day at our gallery overseeing the installation of a lorry load of sculpture by Leeds born artist Bridget McCrum. Now aged 86, she is having her debut show in Harrogate.

Sculpture by Bridget McCrum

On my return journey I stopped by a brilliant exhibition at Harewood House to see Kate MccGwire’s inspirational installation Menagerie. Material plays such an important part in helping us to understand art. How significant are glass and feathers? Such distinctive and attractive materials they almost don’t need any help from the human hand, so when it is applied by Burne-Jones and Morris in one instance and MccGwire in the other you realise how their technical skills can entwine narrative with natural beauty.

A flow of feathers – one of the sculptures by Kate MccGwire featured in Harewood House. Above image and featured image credit: Jonty Wilde / Harewood House Trust

Next month I shall be talking about the places nearby to see extraordinary sculptures and making suggestions about how to think about placing artworks outside.

As part of our architecture symposium Messum’s  has an online talk on Friday, September 18, by Yorkshire-based art historian, Suzanne Fagence-Cooper about Jane and William Morris. If you are interested in joining, do book your place on our website.

Kate MccGwire’s exhibition at Harewood House is open for viewing from Monday, July 20 to Sunday, October 25 from 11am to 4pm.