Published to coincide with the exhibition 'Michael Lyons: Freeze Frame' (9 March - 9 July 2016).

Detailed Description

Edited and with an essay by Judith LeGrove, as well as essays by Julia Kelly and Michael Howard. Foreword by Layla Bloom.

Published by The Stanley & Audrey Burton Gallery, March 2016.

31pp plus cover, 280 x 210 mm

25 colour images (inc. cover), 11 black and white images

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Michael Lyons (b 1943) studied at Wolverhampton College of Art and the University of Newcastle upon Tyne. His student work Traitors’ Gate (1966) gained recognition in the exhibition ‘Northern Young Contemporaries’, and by the mid-1970s he was acknowledged as one of the most significant steel sculptors of his generation. Actively participating in the move to show sculpture in the landscape, he conceived a series of large, architectural works, including Heights of David (1976–7) and Lenten Cover (1979), which were sited in outdoor exhibitions at the newly opened Yorkshire Sculpture Park, London’s Serpentine Gallery, Manchester’s Whitworth Gallery and Margam Park in Wales.

From the mid-1980s Lyons increasingly worked abroad, in symposia and residencies in Germany, USA, Turkey, Mexico, and most significantly in China, a country which has had a profound effect on his work. He has sculptures permanently sited throughout the world, and is represented in the collections of the Arts Council, Henry Moore Institute, Yale Center for British Art, and galleries throughout Britain and abroad.

Born in Bilston, in the West Midlands, Lyons has retained an affinity with the industrial landscape, sourcing steel for his sculpture from scrapyards in Leeds and Hull, and working with steel fabricators in Sheffield. He has mainta