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Sculpture, Metal on Steel
Size: 26.4 W x 30.7 H x 17.3 D in
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This is one of an ongoing series of sculptures inspired by my reimagining of Damien Hirst’s 'documentary' of ‘The Wreck of the Unbelievable’ as actually having discovered sculptures which suggested that the ancients had invented Cubism/Modernism thousands of years ago. It was instigated by an article highlighting Giovanni Battista Bracelli’s 17th Century engravings which seemed to contain hints of an early Cubist style even then. My work is usually based upon the human(oid?) figure and I also love the ancient Classical legends and art. As is the case with a lot of my art, the style is influenced by Picasso's approach to form, but also by my recent discovery of the work of Julio Gonzalez and David Smith. I've been experimenting with making maquettes from 'flat materials' using score and fold techniques similar to Picasso's paper-based figurative sculptures. I love the idea of creating 'volume' from 'flatness'. Recently, I've been looking at a lot of vintage anatomical medical illustrations and thinking about Francis Bacon's use of images of butchery in his visceral paintings, so am trying to find ways to incorporate those into my art. I hope viewers might believe that this sculpture, whilst being in a modernist style, looks as if it could have been discovered on the seabed, encrusted in barnacles and coral, as Damien Hirst's creations were, but, that in my reimagining, viewers might also stretch their incredulity and believe that it might actually be genuine and provide evidence of a previously undiscovered artistic period in the ancient world. This sculpture is made from reclaimed mild steel using the arc welding process before being encouraged to develop a rich, almost 'leathery' patina of rust, then painted with three coats of lacquer. Whilst it has been thoroughly varnished, it is intended to be sited indoors rather than outdoors.
2022
Metal on Steel
One-of-a-kind Artwork
26.4 W x 30.7 H x 17.3 D in
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I'm an Anglesey-based artist who creates colourful, geometrically fragmented paintings in oils and acrylics and bold, angular welded metal sculptures inspired by the human figure to investigate how we see, and understand, three dimensional 'form' in the physical world around us. My work examines the way light strikes the planes of a figure; how the figure casts shadows on itself and its surroundings; how the shape of the figure creates negative space within and around itself; how movement around the figure changes our perception of these shapes, shadows and negative spaces; and, finally, how we interpret this complexity of visual signals to build a mental picture of the form of the figure and our orientation to it within a Cartesian space. The human figure, being both infinitely variable and also instantly recognisable (assuming a few hints and clues are proffered), makes an ideal motif because it can be simplified and distorted whilst still remaining identifiable. Concepts that have inspired my approach to my work include; • The Modernist period of art, especially the Cubist and Vorticist art movements; • David Hockney's various discussions about the dominance of the 'monocular view' in art, together with his experiments with photographic 'joiners'; • The course on 'Visual Perception and the Brain' by Dale Purves MD, particularly the section on the 'The Inverse Problem' as it relates to optics; • E.H. Gombrich's use of the phrase 'schema and correction' in his book, 'Art and Illusion'; • The classic Father Ted sketch where he tries to explain to a confused looking Father Dougal that the toy plastic cow Ted holds in his hands is 'very small' whilst the real cow on a distant hillside is 'very far away'!
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