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obsession-WEBBeautiful Dystopias Collection

Obsession 2013

Wall based sculpture – part of the Book of Revelations Series (see below).

Materials: old gilt frame, found feathers, resin

Tension between our greed for oil and the impact this has on wildlife is evoked in Obsession.  Fauna is metaphorically represented through the reference to seabirds dying from oil slicks, abstracted by submerging found feathers in black resin, captured within an old gilt frame.  The black resin forms pools of glistening liquid mimicking oil.

obsession-detailThis new work has been revealed at Mill Yard Studios ‘Small’ exhibition – on till 22 December.  Find the gallery in Staveley, Cumbria, UK.  Open Thursday to Sunday 11- 4

Developments of this work can be found on blog posts 14 August and 6 September.

Book of Revelations Series 2012-13

A series of wall based sculptures.

The work silently contemplates a fractured reality: the relationship between contaminated environs and the anthropocentric compass – a dishevelled mourning.  The peeling layers invite a meditation on the narrative exposed, whilst the found objects transpose and complicate the space from painting towards sculpture – settling in neither.  The brooding degradation is juxtaposed against the unsettling extravagance of the golden frame.

Our view is framed.  The duality of being is that we seek the security of frameworks in our lives whilst remaining curious about the wider world. Science and art informs and nurtures our quest for expansion to the physical and metaphysical worlds we inhabit.  The magnitude and monumental narrative of the planet ignite wonder yet conversely endow a sense of insignificance to mortal man.

Harnessing the redundant golden frame as a symbolic border, one that demarcates the contents as worthy of being luxuriously wrapped, the sculptures present artefacts dislodged from our focus of possession.  The discarded, retrieved and redefined objects are imbued with metaphor and meaning.

The damaged frame, holding fragmented spaces whilst clinging to the precious cargo, defies the loss and reveres its ostentatious past.  Metaphorically, the frame highlights the paradoxical interconnectedness between destruction and renewal, past and present, consumption and disposal. The fractured structure signals the frailty of the framework as an illusion of security.

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