What secrets does the Ascending Form (Gloria) hold within its bronze curves? Here, at Murray Edwards College in Cambridge, we stand before Dame Barbara Hepworth’s creation, a sculpture that transcends mere form. Ascending Form (Gloria), crafted in 1958, isn’t just a piece of art. It is a testament to Hepworth’s artistic journey and personal experiences. This bronze sculpture stands tall, composed of two diamond shapes. The larger rests atop the smaller, a symbolic representation of growth and upward movement. The sculpture stands 190.5cm tall and is one of six in existence. This particular cast, however, holds a secret. Originally, the entire surface was a striking white, achieved through a radical technique for the time. A blend of white paint and remnants from the bronze casting mold created this unique effect. Weathering over time has worn away much of the original white finish. Careful restoration work has brought back some of its original glory, using a white-tinted wax to unify the remaining fragments. Hepworth’s innovative approach to patinas on bronze, working closely with her foundry, is evident in this piece. The white finish, a bold choice for 1958, emphasizes the contrast in the sculpture’s forms. Looking at the sculpture, some interpret the two forms as hands clasped in prayer. This interpretation aligns with Hepworth’s renewed spirituality after the tragic loss of her son, Paul, in 1953. Ascending Form (Gloria) is more than a visual spectacle. It offers a glimpse into Hepworth’s artistic process, her personal struggles, and her exploration of abstract forms to express profound human experiences. The sculpture invites us to reflect on themes of growth, spirituality, and the power of art to transcend the purely visual.
Catholic Church of Our Lady and the English Martyrs
Peering up at that towering spire, consider the Church of Our Lady and the English Martyrs. It’s more than just