Kate MccGwire’s 25-Year Retrospective Showcases Extraordinary Serpentine Feather Sculptures
At the outset, Kate MccGwire envisioned herself as a painter. This perspective shifted dramatically when she began her fine arts studies in 1995. During this period, she found herself increasingly drawn to what she identifies as the “physicality of sculpture,” preferring “unconventional, tactile materials” over traditional options like bronze, stone, and wood. Before long, she discovered what would characterize her artistic journey for years to come.
“The incorporation of feathers in my creations has evolved into a pivotal theme, symbolizing fragility, transience, and a nuanced relationship between beauty and discomfort,” MccGwire shares with My Modern Met. “Their symbolism often triggers an emotional reaction that resonates with the delicate equilibrium I seek to maintain between aesthetics and visceral presence.”
It’s not surprising that feathers are a prominent feature in MccGwire’s forthcoming retrospective, Quiver, at the Djanogly Gallery in Nottingham. Covering more than twenty years of work, Quiver reveals the artist’s fascination with organic forms, whether they appear as sleek, serpentine figures or surreal, bone-filled whirlpools.
“This exhibition holds great significance as it marks the first—and perhaps the only—opportunity to view a collection of works spanning 25 years together,” MccGwire remarks. “Bringing such a vast and varied array of pieces from different places together has been a challenging endeavor, and I am incredibly thankful to Neil Walker of Djanogly for his remarkable efforts in making this happen.”
With MccGwire’s diverse practice, there’s much to appreciate and contemplate throughout the exhibition. Brood 36 Days, for instance, stands out as one of MccGwire’s preferred pieces on display. Building on her degree installation at the Royal College of Art, the sculpture from 2004 features thousands of wishbones intricately woven into a spiral design.
“Brood 36 Days is particularly important to me, as it connects with that early work and maintains its ongoing conceptual significance,” the artist shares. “The relationship this work has to that pivotal moment in my career enhances its meaning.”
Pellucid Copse, created this past year, also highlights the connections between the artist’s earlier and later works. This sculpture draws inspiration from Bridle, a 2001 piece made from plastic cable ties. In Pellucid Copse, MccGwire delves deeper into this exploration, focusing instead on the discarded remnants left behind from 3D printing.
“That linkage illustrates a recurring fascination with reinterpreting overlooked or discarded materials, infusing them with renewed life and presence through sculpture,” she notes.
Included in Quiver are, of course, MccGwire’s signature feather sculptures, each one captivating, dynamic, and, simultaneously, unsettling. Pieces like Gyre spill from the wall and twist across the floor in inky, black tendrils, imparting a foreboding atmosphere. Turmoil and Torsion, more delicate, are displayed in glass cases, highlighting MccGwire’s sensitivity to form, movement, and scale.
“There’s a purposeful tension in merging aesthetic allure with an underlying discomfort,” MccGwire explains. “It’s this contrast that I aspire to leave as a lasting impression, invoking both admiration and a subtle sense of unease.”
Kate MccGwire: Quiver will run from September 20, 2025, to January 4, 2026, at Djanogly Gallery.
Kate MccGwire’s upcoming retrospective marks the first time a body of work totaling 25 years will be displayed collectively.
The exhibition collects numerous sculptures by MccGwire, many of which explore themes of fragility, form, tactility, texture, and nature.
Kate MccGwire: Quiver will debut at Djanogly Gallery in Nottingham, U.K., on September 20, 2025.
Exhibition Information:
Kate MccGwire
Quiver
September 20, 2025–January 4, 2026
Djanogly Gallery
Nottingham NG7 2RD, U.K.
Kate MccGwire: [Website](https://katemccgwire.com/) | [Instagram](https://www.instagram.com/kate_mccgwire/)
My Modern Met has authorized the use of photographs by Kate MccGwire.
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