British sculptor, born in Bristol. He trained as an engineer, 1940–44, and served in the Royal Navy, 1944–6, before studying under Kenneth Armitage and William Scott at the Bath Academy, 1946–9. From 1951 to 1955 he taught at Newport School of Art, then was the third sculptor to be awarded the Gregory Fellowship at Leeds University, 1955–8, following in the distinguished steps of Reg Butler and Armitage. Thereafter he taught at various art schools, notably as head of sculpture first at Hornsey College of Art, 1966–73, and then at the Central School of Art, London, 1974–6. He won the first prize for sculpture at the 1959 John Moores Liverpool Exhibition and the David Bright Prize (for a sculptor under 45) at the 1962 Venice Biennale, and he had numerous public commissions, including several from universities (for example a fountain at Nuffield College, Oxford, 1962). Dalwood's early work was very much in the vein of the raw expressive figuration of the Geometry of Fear sculptors. His reputation, however, was made with abstract or semi-abstract works such as Large Object (1959, Tate), usually in aluminium, (often painted), rather than bronze. He never attempted the radical abstract quality of the New Generation sculptors and his work still frequently suggested organic forms or landscape space. In the late 1960s, following a stay in the USA as visiting professor at the University of Illinois (1964), he turned to bigger, shiny, columnar forms. In the 1970s he began making large room installations in wood. Dalwood's propensity for large-scale sculpture had the result that some of his most ambitious works, such as Riders and Reflections (1964) or Otera (1973), had to be destroyed after their initial exhibition.
Arts Council of Great Britain, Hubert Dalwood (1979)