What I think I am touching on is something ancient. Something as old as humanity or even the human condition itself.
Origin – How stones predate everything, even glass.
New frontiers are being scaled through my current creative trajectory.
Making art has always been a journey for me. Although sketches are made, plans scribbled on paper and maps drawn up with inklings of the destination, it is the problem solving and decisions taken on the way that give meaning to my endeavor.
Then the destination is reached…
This is the moment where the sculpture starts to converse on its own, the birth of an idea in a universal language.
I love imagination and finding the familiar in odd places. As a youngster I used to look up at the clouds and see all kinds of different things in them. What really amazed me was when your gaze left the clouds and returned a few seconds later how much of the previous illusion has changed, that the old man’s face now resembles a grinning crocodile…
Taking stock on my current trajectory I’m noticing myself still exploring these imaginative avenues. Is this not a truly human trait? The pure arrogance! To identify yourself in the detritus of the universe? Even on Mars we have found faces resembling our human identity and given nebulas names such as “Crab” and “Horse Head”. Are these not the places where we identify our gods, within the planets, the sun and the moon?
This must be a sign that we are conscious beings, that we have an imagination and are different to the “other animals” on this pale blue dot. Is this not the fertile ground which birthed our spiritual sensibilities?
Could this trait also be responsible for the basic narrative we call art? Seeing a likeliness of ourselves in a large rock or a tree must have given rise to spirituality, to religion. We are not separate but part of the larger picture. We are part of the universe!
Perception! The pinprick hole of our pupil sucks up all this electromagnetic radiation of the “visible” spectrum. These illusive particles and waves radiate from everything around us. How can this tiny hole in our eye reveal so much if only a tiny fragment of this radiated energy stimulates our perceptive nerves?
There is so much visual information and each individual has their own perspective. My sculptures are an attempt to discern this diversity of views. I am searching for a way to articulate through experience and immediacy that moment which gave rise to the origins of the inquisitive and conscious woman, child and man.
The lens metaphor has and still is the main prerogative to explore this notion of immediacy and individual perspectives of whom we are and our affinity to the world around us.
My sculptural exploits are reaching back to the dawn of man and how this narrative still affects us today, our human nature… with a glassy twist.
The Silverstone Caricatures are new sculptures currently on show in my solo exhibition, “Air” at Art Lovers 1932.
I have been combining rocks, steel and glass for some time now, consciously giving each element a roll in the theatre of sculptural narrative.
The rock is solid, strong and ancient. It is a part of this silica crust we dwell on with a history exceeding even life, as we know it, by far. In this sense it is telling a story, informing the spectator of the randomness, nae, chaos the cosmos contains.
Lifting the stone and appropriating it for my intended use as an element in a larger story I contextualise the seemingly arbitrary thing that was lying around. I personally feel that the simplicity of this act reveals the power we as humans have, to terraform our environment to suit our desires. This thought echoes throughout human history, from primitive stone tools to modern architecture.
In my latest series of exploits, the “Silverstone Caricatures”, I take this concept even further. Completely covering the stones with silver spray paint I change their ancient history, scars, surface with immediate effect. It almost feels like sacrilege when I spray them… but then again large amounts of earth are torn up and pulverised every minute all over the world. Ironic?
Drilling holes has been part of my larger rock projects which I am continuing with these smaller sculptures. Inserting and bending steel rods I use structural logic to attach my lenses.
Metaphorically the lenses play the roll of sight, of seeing or observing. But, who is observing? Is it the painted rock looking at us or are we scrutinising the rock?
These individual lenses are the pivot point on which my concept hinges. They create the portal between both parties, initiating the narrative and conversation between both observers.
I intentionally use the phenomenon of pareidolia, eliciting a reaction of animating the inanimate, giving it “life” through interaction by the spectator.
It all sounds so serious but as a matter of fact I am having fun. I hope to instil the same emotion of quirkiness and childhood discovery through my sculptures for the spectator that I experience.