Andrew Sabin

Andrew Sabin (born 1958, London, England) studied at Chelsea College of Art (1979-1983) where he worked as a senior lecturer until 2006.

A pioneering experimental object maker until 1989, his debut exhibition was with his partner, Laura Ford, in an artist occupied shop in Islington, later exhibiting at Whitechapel Gallery and Casting an Eye, Cornerhouse Gallery Manchester (1987) alongside Julian Opie, Richard Deacon and Alison Wilding. Exhibiting twice (1989 and 1990) with solo shows at Salama-Caro Gallery, Cork Street.

Sabin produced his first major installation for the Chisenhale Gallery in East London (1990). The works were constructed from hard masses of expanded polyeurathane, fibreglass and steel covered with camouflage nylon and studded with lustre-glazed ceramic buttons. On the walls hung ten large steel framed grids of black and white glazed tiles. The installation later formed an important element in New Light on Sculpture 1991, Tate Liverpool alongside artists such as Tony Cragg and Ron Haseldon.

'The Sea of Sun' was commissioned in 1992 by Battersea Arts Centre and the Henry Moore Trust. First exhibited at BAC it went on to form part of the inaugural exhibition of European sculpture at The Henry Moore Institute, 'Cell, Cella, Celda' in 1993 alongside Vittorio Messina, Jaume Plensa and Edward Allington. The installation toured to the Musée de l'Élysée in Lausanne as part of the 'Century of the Body' Exhibition and subsequently to Culturgest, Lisbon. The installation was composed of thousands of chains hung from the ceiling to the floor to make numerous interlinked enclosures or cells, their floating walls anodized with figurative images and abstract shapes and colors.

In 1997 Sabin made the final part of his trilogy of installation, 'The Open Sea', was commissioned by the Henry Moore Sculpture Studio in Halifax as part of a programme of sculpture residencies that included over a 10-year period projects by Giuseppe Penone, Richard Long, Jannis Kounellis, Lawrence Weiner, James Turrel and Georg Herold. 'The Open Sea' was a vast structure with a layered interior and penetrated by patterns and sculptural forms. "Considered as a structure, comparison can be made with the architecture at the edge of the sea such as boardwalks and the traditional English Pier, and also with the fantastic structures of the fairground". Robert Hopper

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