• Kalasan - Eduardo Paolozzi, Bowman Sculpture Ltd
  • Kalasan - Eduardo Paolozzi, Bowman Sculpture Ltd
  • Kalasan - Eduardo Paolozzi, Bowman Sculpture Ltd
  • Kalasan - Eduardo Paolozzi, Bowman Sculpture Ltd
  • Kalasan - Eduardo Paolozzi, Bowman Sculpture Ltd
  • Kalasan - Eduardo Paolozzi, Bowman Sculpture Ltd
  • Kalasan - Eduardo Paolozzi, Bowman Sculpture Ltd
  • Kalasan - Eduardo Paolozzi, Bowman Sculpture Ltd
  • Kalasan - Eduardo Paolozzi, Bowman Sculpture Ltd
  • Kalasan - Eduardo Paolozzi, Bowman Sculpture Ltd
  • Kalasan - Eduardo Paolozzi, Bowman Sculpture Ltd
  • Kalasan - Eduardo Paolozzi, Bowman Sculpture Ltd
  • Kalasan - Eduardo Paolozzi, Bowman Sculpture Ltd
  • Kalasan - Eduardo Paolozzi, Bowman Sculpture Ltd
  • Kalasan - Eduardo Paolozzi, Bowman Sculpture Ltd
  • Kalasan - Eduardo Paolozzi, Bowman Sculpture Ltd
  • Kalasan - Eduardo Paolozzi, Bowman Sculpture Ltd
  • Kalasan - Eduardo Paolozzi, Bowman Sculpture Ltd
  • Kalasan - Eduardo Paolozzi, Bowman Sculpture Ltd
  • Kalasan - Eduardo Paolozzi, Bowman Sculpture Ltd
  • Kalasan - Eduardo Paolozzi, Bowman Sculpture Ltd
  • Kalasan - Eduardo Paolozzi, Bowman Sculpture Ltd
  • Kalasan - Eduardo Paolozzi, Bowman Sculpture Ltd
  • Kalasan - Eduardo Paolozzi, Bowman Sculpture Ltd
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Kalasan

Eduardo Paolozzi

(British, 1924-2005)

Cast, extruded and welded aluminium
Height: 82" (210.5 cm)

Conceived and cast 1973-4
Unique



A prominent feature of Paolozzi’s exhibition at the Yorkshire Sculpture Park in 1994 were three sculptures, Suwasa, Trishula, and Kalasan, made between 1966 and 1974. The sculptures were once part of a children’s playground conceived by Paolozzi for his former student Terence Conran's Habitat store at Wallingford, Oxfordshire. They reveal much about the condition of public sculpture in the second half of the 20th century, and the major contribution Paolozzi’s sculptural language made to it.


Kalasan, Yorkshire Sculpture Park, 1994

The early 1970s witnessed an emerging awareness in Britain of the possibility of sculpture by modernist sculptors in public places. In 1972 the Peter Stuyvesant City Sculpture Project provided an opportunity for sculptors to provide work for urban sites, but inevitable questions of public acceptability, responsibility for maintenance, and ‘Health and Safety’ issues, soon arose.1 The private nature of the ‘Habitat’ commission in 1973-4 naturally circumvented problems such as these. Although there was a modernist tradition, albeit a disrupted one, for the conjunction of sculpture and architecture in Britain (in which Henry Moore took no part), the practice of postmodern architects decorating their buildings had hardly begun in the early 1970s. In the 1960s, the best chance for sculptors, like Paolozzi, who succeeded Moore, was to show their work in buildings designed by sympathetic modernist architects of their own generation. A commission from Terence Conran, who had been Paolozzi's student at the Central School of Arts and Crafts in 1950, and whose ‘Habitat’ empire had been radically changing consumer attitudes to design in Britain since 1964, was an enlightened idea to introduce children to modern sculpture through play.


Habitat, Wallingford


Playground including Kalasan and Suwasa, Habitat, Wallingford

Suwasa, Trishula and Kalasan, together with three other sculptures, Yantra, Manuk, and Utpala, which formed the Habitat commission (there may have been a seventh)2, were fabricated at Juby’s ‘Alpha’ Engineering Works, Ipswich, where Paolozzi had been making aluminium sculpture, largely inspired by the practice of the American sculptor David Smith, since the early 1960s. While Kalasan was made in 1973-4 exclusively for Wallingford in 1973-4, both Suwasa and Trishula date from 1966, and occupied an important place in the development of British sculpture by the time Paolozzi adapted them to suit the requirements of the Habitat commission.


  1. 'City Sculpture', Studio International, January 1972, special issue on the Peter Stuyvesant City Sculpture Project. 


  2. For Yantra, Manuk, Utpala, and further details of the Habitat commission, see Modern & Post-war British Art, Sotheby's, London, 13 & 14 November 2012, pp. 148-153, lots 143 & 144.

Works by Eduardo Paolozzi

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