MICK MCSHANE is roused by a band whose socialism laces every line of every song with commitment and raw passion
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George Fullard: Human Tender, Pangolin Gallery London
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JOHN GREEN welcomes an insider account of the achievements and failures of the transition to democracy in Portugal
SIMON PARSONS applauds an imaginative and absorbing updating of Strindberg’s classic
PETER MASON is enthralled by an assembly of objects, ancient and modern, that have lain in the mud of London’s river
PANGOLIN’S intimate space is the ideal setting for this retrospective of work by one of Britain’s most important, if sadly neglected, British sculptors.
Sheffieldian George Fullard’s work has both a succinct realism, with its stunning fluidity and clarity of form, as in Three Women, and an equally assured grasp of assemblage, epitomised by Pregnant Women.
Fullard had an optimistic disposition to fellow humans and, a rarity among sculptors, a sense of humour — best exemplified by the comically ponderous and visibly inept Phoenix with wrenches for legs and forks for wings.
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