As the artist himself says, “It’s probable that Azzedine and I get on because he knows that I can feel his sensibility for ‘assembly’ and assemblage. I think that his sensibility to dressing a form (remember that ‘dress’ is the term for shaping stone) is directly connected to my own feelings about all hidden joints and laps which allow the world to appear seamless. Ironically I have a great appetite for faults, breaks, cracks and seams and Azzedine is able to deploy the seam as an incredible device for creating a whole. One which moves in space.”
Richard Wentworth (born 1947) is a leading figure in contemporary art. His work is nurtured by an acute study of material culture and represents a system of revelations for the hidden meanings of things. Bringing together photography and sculpture, it highlights unexpected encounters between objects. Wentworth’s work has exerted considerable influence over generations of artists and has been presented at the Havana Biennial (2015), the Manchester International Festival (2013), the Venice Biennale, (2009, 2003) and the Istanbul Biennial (1995). He has also had solo exhibitions at some of the world’s most important institutions, including the Hayward Gallery (2015), the Whitechapel Gallery the (2010), and the Serpentine Gallery (1993). He is represented internationally by the Lisson Gallery and Peter Freeman Gallery.
In the early 1970s, Richard Wentworth began Making Do and Getting By, an ongoing major work, which today consists of more than two hundred thousand images of sculptural events observed around the world. A selection was published in 2016, in a book edited by Hans Ulrich Obrist.