Brian Willsher Review
Much has been written about Brian Willsher and his stunning avant-garde bronze pieces that represent natural phenomena, such as shells, waves and nebulas. But the innovative perspective that we can find in the book edited by the International Confederation of Art Critics, better known as ICAC, has something special. These professional critics go beyond the boundaries of a simple story-telling and the standard conventions and layout of a traditional art catalogue. They really highlight the inner creative pathways of the artist, deeply analysing his way of sculpting and his means of communication, wonderfully displaying his works through the pages.
Having exhibited all over the world, from London to Melbourne, from Los Angeles to Paris, Brian Willsher was undoubtedly a talented sculptor, whose work not only amazes and thrills the viewer, but he also was the subject of a famous controversial legal case on the legitimation of his sculpture. In an article dating back to 1968, we read that, in a dispute related to taxable duties on “art creations” or “ornamental sculptures”, the British government judged Willsher's masterpieces as simple decorations. Exceptional case was that Willsher's talent and mastery was praised and appreciated by the undeniably most important British sculptor of the 20th century, Sir Henry Moore, who directly took his defence with the words: “Here’s pure sculpture, indeed! More than that: memorable, breathtaking sculpture!”. ICAC's publication testifies this interesting event, and the book emphasizes the entirety of Willsher’s genius, whose ability to harmoniously mix geometric forms with organic shapes creates an exquisite sense of equilibrium.
Following the comprehensive museum catalogues edited in all these years, ICAC's exhaustive anthologies prove again their avant-garde in the field of Art Criticism and the Confederation's work is an inspiration for present and future artists. All ICAC's publications are sold on Amazon all around the world and can be found in important libraries and collections such as the Victoria & Albert Museum, MOMA, Louvre, Tate and the British Library.
 “When is a sculpture not a sculpture?” The Guardian, London – Monday April 1. 1968