Specializing in Geometric Abstract Sculpture

Sculpturesite's Introduction to John Whitehead

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     We are delighted to present an exclusive online exhibition of 11 sculptures in metal or wood by John Whitehead, in his first show with Sculpturesite Gallery. Whitehead is one of only a few African American geometric abstract sculptors currently working in the U.S.

Two distinct, but related, bodies of works compose the show: highly polished stainless-steel geometric abstractions in the constructivist and abstract expressionist traditions and totemic sculptures in metal or fine-grained wood. All the works show a deft attention to composition and exquisite workmanship.

John Whitehead was born in Demerara, Guyana. He came to the United States at age five and grew up in various inner-city neighborhoods on the west side of Oakland, California. His first introduction to contemporary art came while he attended high school, under the tutelage of an inspiring art teacher.

Whitehead pursued his post-secondary education in economics and art, first at U,C, Berkeley, CA, where he obtained his B.A. in economics with a minor in art, and then at the University of Massachusetts, Amherst, where he received his M.A. in economics. During his professional career, teaching university level economics and statistics, he continued to develop his keen interest in and passion for contemporary art, and more specifically sculpture. These were formative years for the artist.

“My sculptural work," says Whitehead, "evolves from the constructivist and geometric abstract traditions. While it is inspired by my faith in humanity and the beauty of nature, it is most directly influenced by Fletcher Benton’s geometric abstractions, David Smith’s 'Cubi' series, and George Rickey’s 'Cluster of Cubes'. Stylistically, my work contains a variety of geometric constructions, shapes, and patterning curves and spaces that exhibit movement, harmony, energy, symmetry, and balance.”

In his mirror-polished stainless-steel sculptures, Whitehead balances varying geometric shapes, repeating forms and negative spaces. These geometric abstractions contain elements that are perched precariously atop each other, appearing to defy gravity and/or displaying a balance/imbalance dynamic. A single color, used discreetly, as in Cleopatra’s Cobra, or more noticeably, as in Opus Trifecta, offers a rich contrast to the mirror surface with subtle reflections, while several pieces are kinetic, inviting a gentle touch to take us into yet another dimension.

In his totemic forms built from fine-grained woods with marquetery level precision, Whitehead takes the repetitive patterns to greater heights, achieving elegant, rhythmic sculptures for warm interiors.