Wood carving

Madigan worked in a wide variety of timbers, and had a natural understanding of the feel of the particular block of wood, whilst also being able to bring out her own strong sense of form in every piece.

On this page: Link to Wood Assemblage.

Nagarr - Walnut; 1970s Balmain East; Commission from the Avon Company for their corporate offices in New York.

Nagarr - Walnut; 1970s Balmain East; Commission from the Avon Company for their corporate offices in New York.

Totem: one of a pair; 1960s, Adelaide. The second piece was painted in Balmain, 1979.

Fête Champêtre: 1949, walnut relief, as part of the winning potfolio for the NSW Travelling Art Scholarship, now in the NGA collection.

Fête Champêtre: 1949, walnut relief, as part of the winning potfolio for the NSW Travelling Art Scholarship, now in the NGA collection.

Wood assemblage

From the 1960s Madigan started to use painted off-cuts of plywood from Adelaide harp maker Peter Kempster, to create more abstract sculptures (one can be seen in the background of the homepage photo). Later during her years in Sydney she had access to wooden machine casting model shapes (through partner Robert Klippel), as well as off-cuts from her own work, and developed a strong individual semi-abstract style based on her understanding of the figure, with most still based on the torso. This continued alongside her carving practice from that time.

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Painted wood; Four faces

Painted wood; Four faces

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