Every Direction has its Point
There are four areas of exploration I define here and subsequently divide into categories in which may serve you to understand variances in the directions I currently work. Click on the title of each of the following areas to get a brief synopsis of each with an example.
Sculpture can never be appreciated fully from a single viewpoint. It has to be taken in more as ribbon of highway weaving down a road in time. The entire road cannot be viewed at once, it has to be visited piecemeal. With sculpture repositioning ones self for each view requires time for the repositioning. Therefore and likewise, to take in an entire sculpture it must be imagined by the viewer collectively, as a series of snapshots, which then, albeit unconsciously, are reserved in the mind and reassembled with some modicum of imagination as a sum of parts rather than as singular form. Within this characterization of my observed, “presence” of sculpture, lies my reason for my continued fascination with it as a vehicle for my creative expression.
For my personal foray into the examination of this concept I have centered on the enigmatic Mobius Strip. Here I attempt to project the feeling of constant motion in projecting my work as never resting, i.e. continuous rather than static. The motive is to put the viewer in a off balance state but at the same time seeking balance.
Not everything in this category represents a mobius strip, but its influence is at the root of the continuity of flow I look for in my work. The idea is that the “whole” can be only be fully understood through the collective snapshot memories the view has collected over the time spent viewing the work. The viewer then reassembles the sculpture in their mind much more like a story that has been told to them. In fashion – “I’ve looked at life from both sides now, From up and down still somehow, It’s life’s illusions I recall, I really don’t know life at all” — Joni Mitchell
Motion in Mass
This is a variation of the concept given above in the description of the “Mobius Influence”. Think lazily laden massive molten flows moving with the speed of a glacier. Not unlike the forms presented in a lava lamp. In these forms I like to generate a relaxed state of mind, I see the forms frozen in motion, or are they. Settling. Giving into their own weight. Sliding down in the “easy-chair”. Giving in to gravity and whatever transition it may require. Generally there is much less of the interior exposed than in the preceding Mobius forms. The elements that make up this work are thicker, giving the whole a heavier weight. The emphasis is toward melting or melding together, of multiples combining and be coming one. Unification, capitulation, acquiescence, submission.
My position has always been to expound that In Art- “Nothing is purely Abstract” and conversely “Nothing is entirely Real”. Keeping that in mind I come to the some things with my “Bridging Reality” themed category. The focus here is in the twixt of things. Intertwining – melding reality with the abstract and producing work coming up with a mid ground. merging
Tension in Texture
Touch rules in Texture, and wood abounds with texture so being able to touch sculpture is an integral part to enjoying it. So when I delve into texture, for becomes the vehicle for it. Form gives over to texture in providing the major impact to whatever I devise is this category.