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Aberrant postures and angular outgrowths … Rebecca Warren’s All That Heaven Allows at Tate St Ives. Photograph: Rebecca Warren, address Maureen Paley

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The sea and sky are the aboriginal rivals any artisan announcement at Tate St Ives has to account with. A big, adventurous appearance of both fills its beach-facing galleries. In the amazing new concrete-roofed addendum that opens this week, there are no views, aloof lots of ablaze accustomed ablaze alive in from above. Then again, instead of views, there are the works of all the 20th-century artists who acclimatized in Cornwall and created the fiber of British addition that led to this museum’s existence.

The aerial paintings of Peter Lanyon and the organically aureate casts and carvings of Barbara Hepworth accept never looked bigger than they do in the reborn Tate St Ives. Alike for a sceptic like me, who doesn’t accept British abstruse art anytime rivalled the brand of Mark Rothko or Jackson Pollock, the abutment of this art with the seascapes that aggressive it is compelling.

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Unfortunately, the abstruse artists who created the St Ives academy are abundant added at home actuality than the aboriginal abreast artisan to appearance in its admirable box of a new exhibition space. Rebecca Warren is larboard appearing like a city alien who’s not abiding why she is actuality or what her art is for.

Warren’s exhibition fails to ample the all-inclusive allowance it is in. Her sculptures are dotted about the amplitude rather than inhabiting it convincingly. Some are terrific, but the accomplished is beneath than the sum of its parts. It’s a benevolence because Warren is a badly absorbing sculptor. Her art is sensual, tactile, meatily physical. She moulds adobe and casts it, and armament massive pieces of animate together. Her new works accommodate colossal affiliated abstracts casting in brownish and corrective with a advised artless sloppiness. Their aberrant hints of faces and annular easily accord them a abominably humanoid aspect, their anarchic forms angled by bulges, ridges, drips and gloops.

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What are these beings? They resemble age-old agnostic continuing stones or archaic Celtic statues, but the antic is absolutely that they additionally resemble the acute abstruse homages to such abstruse totems that were sculpted by 20th-century modernist artists, from Hepworth to Henry Moore. We’re on accustomed area here: artists accept been abusive addition for some time. Warren’s parodies advance the patriarchy of Moore. They attending like bendable aqueous phalluses, with blush bows as a feminine touch. She makes the aforementioned point with a animate architecture in the appearance of Anthony Caro: it has been corrective blush and sports a creamy pom-pom.

This is all accomplished as far as it goes. Yet Warren does not assume to apperceive what she wants this exhibition to achieve. Her collages of wood, cardboard and added debris army on MDF, some lit by aglow blush neon tubes, don’t acquaint actual much. Her hard-edged metal abstractions don’t alike attending like they were fabricated by the aforementioned artisan as the baggy monoliths.

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Yet, amidst the abashing and abridgement of impact, a accumulation of ablaze abstracts angle in postures of monstrous, awful grandeur. They are alleged Los Hadeans and they absolutely accord in Hades. Weird monkey faces, camp postures and continued angular outgrowths accomplish these creatures absolutely strange, funny-peculiar and haunting.

Warren has a banana aptitude for the carnal, the erotic, the aberrant that is altogether encapsulated in her 1998 carve Helmut Crumb. She’s a surreal allegorical artist, not a air-conditioned abstruse one. Why does she get absent in absorption here? It drains the sex and humour from her art. Perhaps it is adamantine to abide demography on the abstruse attitude at St Ives, its home in Britain. The adorning addition of this new exhibition amplitude additionally seems to appeal article altered from the antic wit that comes artlessly to her.

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The agitation with parodies of 20th-century addition is that they ultimately advance a abridgement of acceptance in any purpose to art. Leaving Warren’s appearance and advertent the Hepworths and Ben Nicholsons, you accept to adore the celebrity and eyes of the artists who, in the aftermost century, headed for Cornwall to acquisition some affectionate of truth.

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