This body of work consists of three main projects: Pandora (a force of entropy that resides perhaps outside of any moral or ethical consideration), Red Green Heart (embodying idea that within the unformed is the seed of harmony with the environment) and finally, Jaw/Chevrons (bolder forms which assume taker/mover roles of control and power) explores the subtle relationship between obsberved realities of nature and the social construct of form i.e. the island, the myth and the symoblic forms of vessels or grids. It takes from the definition of the biolith the idea that such forms may be living (as characterised by islands or seed-shapes). These works also invite discussion around object-oriented ontology and hyperobjects-physical entities which transcend specific space and time. The method of construction however were informed by my interest in constructivism as well as a more intuitive process of play upon making and construction itself-a method of drawing in three dimensional space using MIG welding and for smaller pieces, soldering.
The mythical, the metaphysical and the physical world are all referenced in these pieces and nicely summed up by the following quote:
The Biolith Series
Pandora celebrates the Aristotelian mimetic tradition in which “Art imitates life.” The bio-matter of moss is manifests enthalpy, the force of geothermal energy and human potential contained within this “lith” or implied stone land mass. A carbon-coated glacier or doomsday ship charred by unworldly soot, Pandora’s black steel carapace has been blackened merely by human industry-potentially the very source of anti-matter. Its magnetic force has caused it to remains suspended (roughly 3 inches off the ground).
The surname of this piece is of course derived from the Greek Myth of Pandora who is also known Anesidora, "she who sends up gifts" (implying "from below" within the earth).
The form lends itself to
Materially, humans are skilled makers of a a place for themselves in the world. Pandora hovers over this story in objects, in rituals, and in the earth itself. Pandora can never be laid to rest; the Greek goddess represents inextinguishable human powers of mismanagement. self inflicted harm, and confusion. but these powers can perhaps be caged if understood materially.
Red Green Heart
Unlike "Pandora," Red Green Heart was designed around regular geometric forms and the language of constructivist themes as well as formal considerations of implied weight, balance and symetry. The creation of slate furrows along its side would mitigated its angular symetry with the natural contours of planted matter (in this case blue fescue). It is meant to satisfy certain criteria for design as well, as it would be placed in the garden and provide a vision of order. The play on the word Green as something both ecologically sustainable, novice and jealous was a way for me to establish that piece has symbolic and narrative aspects as well-a totem-like entity that bore the expression for containment and equilibrium as well as the potential for succession. This work was featured at Xhibit in 2015 at the John Jones Space and since it was designed to sustain itself when outdoors however required watering in the indoor environment.
In "Jaws" (consisting) of two triangles and Chevrons (sketched steel leaves in helical ascendance) gravity and weight were described through drawings of steel. My intent was to produce forms which were strong because they were basic, suggestions of space contained, bifurcated and linear explorations all at the same time. The possibilities for covering "Jaws" in different types of materials was particularly interesting however this possibility has not yet been fully explored.
The work was selected by curators for Conflux, an exhibition that was held in the Summer of 2015.
Material culture provides in sum a picture of what human beings are capable of making. This seemingsly limitless view is bounded by self inflicted harm whether occurring innocently, by intent, or by accident.
Nature might be a better guide, if we understand our own labours as part of its being.
Richard Sennett, the Craftsman