Comments on: Michael Bolus (1934-2013) Abstract Critical is a not-for profit company aiming to establish a new critical context for all generations of artists involved with ambitious abstract art. Sun, 09 Nov 2014 17:23:33 +0000 hourly 1 By: Tim Scott Mon, 06 Jan 2014 16:26:29 +0000 It was very sad to learn of Mike Bolus’s death. I ‘grew up’sculpturally alongside him as it were, (especially since we shared a gallery). He was ‘one of us’ at St. Martin’s and, of course, as such, one of the ‘New Generation’ group of sculptors, David Annesley, Phillip King, Bill Tucker, Isaac Witkin and myself.

Mike was a man of few words; but when one did have a discourse with him it was always apparent that he had thought long and deeply about his view, and it was always stimulating to one’s own. He was a very private man, one for whom thought preceding work was paramount. One never had the feeling of haste or ad hoc decision making in the range of sculptures that he produced over the years.
In my opinion his achievements in sculpture have been sorely neglected and underrated and I sincerely hope that the effort to show his work comprehensively will be made.
For me, as Bill Tucker’s little anecdote concerning the smoking chimney demonstrates, Mike was above all a sculptural poet; his work always contained an essence which put you in mind of something beautiful in the world without being overtly explicit as to what it might be; one simply contemplates emotions made real in plastic form.

Mike Bolus did indeed ‘make a unique contribution to sculpture’ and those of us still struggling to move our art forward will lose much by not having his example around any more.

Tim Scott January 1914

By: Saul Greenberg Fri, 13 Dec 2013 13:00:43 +0000 ‘If a thing is worth doing, its worth doing well’
Michael Bolus’ Epitaph.
When i was young i found his precision infuriating, all those
hours spent making sure the countersinks were perfectly
aligned or the welds straight.
Together we decorated a shop in Covent Garden and Michael
spent weeks forming Brass sills that were perfectly scribed
to 300 yr old wooden architraves.
Our shop will survive 5 yrs i thought, why spend so long on sills?
I agreed, foolishly, to paint a decorative
scheme in true Fresco. Michael researched the techniques and
made sure we did it….Buon Fresco! His research was
meticulous. Weeks were spent testing different grades of
marble agregate to achieve the perfect Sinopia and an ever so slightly different grade to achieve the slower drying Giornata, not forgetting hours of dialogue with Canterbury Cathedral about the correct aging of lime putty!
Thank God someone invented oil paint!
The Fresco is still there and the Brass sills, 28 yrs later,
survive too.
These were good lessons.
Michael’s Sculptures are spread around the world, robustly
built and well able to survive flood (yes, the Tate Britain) and neglect. They are ready to be rediscovered!
I will fill in his website over the next few weeks.
Thanks to Sam for organising this tribute and Lee and Bill for their heartfelt comments.