Exploring Walter Redinger: Master of the Fearless Fibreglass Sculpture

An active sculptor for more than 40 years, Walter Redinger (1940-2014) was best known for his large, organic fibreglass sculptures, fearless drawing, and intense painting.

A large, intricate sculpture titled 'Ghost Ship' by Walter Redinger, made from driftwood, sumac branches, and fibreglass, displayed in a spacious studio with unfinished concrete walls.

The 13-metre Ghost Ship is considered his masterpiece. Made of driftwood, sumac branches and fibreglass, it took over 20 years to complete and was celebrated in books and exhibitions. (Above, cover of a spread in Canadian Art, Spring 2007)

Two abstract sculptures made of a dark material, prominently displayed on a grassy area, with bare trees in the background and a modern building partially visible. — Two Units, 1974, outside Museum London (Ontario)

Redinger began his career with the legendary Toronto art dealer, Avrom Isaacs, who represented him with numerous one man shows. Redinger continued exhibiting internationally in New York, Italy and France to name a few. His work is in myriad international and Canadian collections, including the National Gallery of Canada.

Abstract red sculptural forms arranged on a concrete base, surrounded by greenery. — Umbria, circa 1975, cast fibreglass and cast concrete, 1975. University of Guelph Collection at the Macdonald Stewart Art Centre

Long associated with the London, Ontario arts community, Redinger spent most of his life in West Lorne, a small town 60 km to the south west. Like many local artists, he studied at Beal Technical School in London and, later, the Ontario College of Art in Toronto and the Meinsinger School of Art in Detroit.

A five-column fibreglass sculpture in an urban setting, viewed from an elevated angle with buildings and trees in the background. — *Totems* (1972), located on Concordia University’s Sir George Williams Campus

Along with Greg Curnoe, Jack Chambers, and fellow West Lorne sculptor Ed Zelenak, Redinger was included in the landmark, nationally-touring exhibition The Heart of London, curated by Pierre Théberge for the National Gallery of Canada in 1968.

An abstract painting featuring a vibrant mix of colors and intricate patterns, characterized by swirling lines, shapes, and dots. — Infinity, 1998-2007, paint media on panel

A black artwork featuring abstract white geometric shapes resembling structures against a starry background. — Infinity, 1998-2007, paint media on panel

In 1972 he represented Canada at the Venice Biennale. Exhibits in Toronto (where he was represented by Isaacs Gallery), New York, and Montreal followed. International acclaim led to several outdoor sculpture commissions during the 1970s in cities such as Ottawa, Montreal, and Winnipeg.

A man in a white shirt and black pants walks past large, abstract sculptures in front of a concrete building, captured in black and white.

Above: Fibreglass Totem Sculpture, installed 1972, the Samuel Bronfman Building, Montreal (Photo: Fred Lebensold for The Canadian Jewish Congress). Redinger also exhibited frequently, including paintings and drawings. (See Redinger’s bio for a complete list of his extensive shows here.)

Walter Redinger’s site, here.

Michael Gisbon Gallery, which represents him, here.