David Annesley

David Annesley was born in London in 1936 and educated in England, Australia and Zimbabwe. After national service as an RAF pilot (1956-58), he studied sculpture at Central St. Martin’s in 1962. Annesley also tutored at Croydon College of Art, Central St. Martin's College of Art and Design and the Royal College of Art from 1963 to 1995.

He was elected a fellow of the Royal Society of British sculptors in 1995. Annesley's first solo exhibition was held at the Waddington galleries in 1966, followed in the same year by a show at the Poindexter Gallery, New York. Since then he has had many solo shows in London, New York and Australia, Holland, Germany and the United States. His sculpture is in many public collections, including those of the Arts Council; the British council; Tate; the Museum of Modern Art, New York; the Nagoya Gallery, Japan; and the Gallery of New South Wales, Australia.

David Annesley's welded steel sculptures seem to defy the weight of the material from which they are made, largely through their abstract compositions that imply a sense of movement. The forms are layered and contemplative, large, yet delicate and intricate. Many of his works draw on his interest in Jungian psychology, which he was introduced to forty years ago when he came across a series of mandalas drawn by a woman in her fifties. She was undergoing analysis with Dr Carl G Jung, who printed a selection of these mandalas in order to symbolise the self and harmony within the individual as archetypes of the collective unconscious. The artist was immediately struck by the qualities of these drawings that, to him, were both universal and intensely personal. He took fifteen years to develop a way of making the mandala into a three-dimensional structure, which has, in turn, fuelled his creative life ever since.


David Annesley, ​Mandala Eighty, ​2003

David Annesley


CASS Artworks by David Annesley


Mandala Eighty

Mandala Eighty is inspired by a series of drawings made by a psychiatric patient of Dr Carl G. Jung in the 1960s. These …