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10. Barry Cox with John Shirley and Martin Short in The Fall of Scotland Yard (Harmondsworth: Penguin Books, 1977), address the corrupt nature of the London drug squad in a detailed if restrained fashion. While the bent coppery Cox addresses landed certain detectives in jail, considerably more serious allegations have been made elsewhere. It should be noted that Norman 'Nobby' Pilcher one of the bent cops who features prominently in The Fall of Scotland Yard played a key role in the Kapur bust.





life-style from the sale of his work, and was keen to find alternative sources of income. Once he gatecrashed the drug scamming game, he realised that one of the ways he might smuggle hash was to seal it inside his large fibre-glass sculptures, a hole which could be re-plugged was all that was required to get the dope in and out of his art works. Many years down the line this ploy was imitated by Howard Marks, who substituted Morland’s modernist constructions with the speaker systems used by rock bands. To Morland smuggling was a means of subsidising his real passions, fast living and making art. In the late sixties Morland’s work appeared in group shows such as New British Sculpture organised by the Arnolfini Gallery at outdoor locations in Bristol and the 1st Burleighfield Sculpture Exhibition at Burleighfield House, Loudwater, Bucks (both 1968). Morland’s one person show Recent Sculpture opened on 12 September 1969 at the Axiom Gallery, London W1. Under the headline ‘Hinged and Unhinged’, Guy Brett dismissed it as ‘decorative’ in a Times review of 19th September 1969.

When writing about Morland’s contribution to The New Generation 1966 at the Whitechapel Art Gallery in Studio International, P. Procktor said of this change of direction: “Comparing the new work with the old there can be few transformations of style more radical. The break is complete. These large entwining serpentine shapes relate to the work of other sculptors in this idiom, speak in a sculptural language which is familiar because it is to a certain extent a shared language. What interests me is not the grammatical principles of the language nor who invented them, one can safely assume that Morland did not, but what this language is used to say. Kiss, the only title of the four pieces in the exhibition which has a specific human connotation, provides a clue to all. The twisting and entwining shapes are metaphors of the body, headless, limbless, featureless, but miming the poses of relaxation or sexual intercourse like gigantic strings of macaroni...”

1966 was to prove another turning point in Morland’s life, since as we’ve noted it was then that he secured an introduction to Dave Abbot. Morland was unable to pay for his extravagant

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