Nicola Hicks

Flowers Gallery, London

Salisbury, Salisbury Cathedral & City, The Shape of the Century - 100 Years of Sculpture in Britain, 22nd May - 19th August 1999, catalogue untraced (another cast);
Newby, Newby Hall Sculpture Park, Yorkshire, Summer Exhibition, 2003;
Lincoln, Lincoln Cathedral,  Presence, February 2004;
London, Flowers Gallery, Mixed Group Exhibition, 2004.

Will Self, James Dellingpole, Anthony Den, Ann Elliott, Nicola Hicks, Momentum Publishing, 1999, illustrated p.19 (original plaster);
Tony Godfrey, 'Exhibition Review,' Burlington Magazine, vol. CXLI, no.1161, December 1999, illustrated (another cast);
Frances Spalding, ‘A Cast of Millions,’ The Independent, 25^thMay 1999.

Structurally sound. Some light dust and dirt has gathered in the crevices, with spots of surface matter to the head of the carried firgure and to the back of the standing figure. Occasional, minor signs of casting residue. There is a minor abrasion to the right foot of the carried figure and a minor area of oxidation to the inside of his right hand; otherwise the work appears in good overall condition. Please contact the department on 0207 293 6424 if you have any questions about the present work.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

‘The catch-all title of the exhibition alludes to the organisers' belief that we can find a reflection of this century's experience in the works on offer; and that by connecting in this way with the past we bring the present into clearer focus. Nowhere is this more obvious than in Sorry, sorry Sarajevo, begun by Nicola Hicks in 1993. Working with straw and plaster, she modelled a life-size naked man carrying a collapsed, decomposing figure, as a protest at the futility and anguish of civil war.’ (Frances Spalding, ‘A Cast of Millions,’ The Independent, 25^thMay 1999)

Born in 1960, Nicola Hicks' began her career as a sculptor immersed in the London Art scene. She studied at the Chelsea School of Art and at the Royal College of Art but from the onset she bucked the trend of conceptual installations that dominated the sculptural output in Britain during the late 1970s and early 1980s. Her subjects are figural, with a particular focus on animalier, and her primary media are plaster and straw, which give her creations a unique and subtle texture. She possesses a distinctive ability to depict the dark and peculiar psychology of her figures through animated gestures and sometimes suggestive titles. Elizabeth Frink was an early admirer of hers and today she holds an MBE for her contribution to the visual arts. Since the mid-1980s she has held a number of successful solo exhibitions and has exhibited her work internationally in America, Canada, India, Japan, and across Europe.