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In physical space, on account of its three dimensions, we can conceive three planes which intersect one another at right angles. Since, through the senses we know what is outside us only insofar as it stands in relation to ourselves, it is not surprising that we find in the relationship of these intersecting planes to our body the first ground from which to derive the concept of regions in space. How the coordinates of the body come to frame the universe and how the universe frames us is a constantly asked question for mankind. Its constant reevaluation provides a perfect stage for sculpture to act out her part. Sculpture converses with its surroundings within the volume of space it inhabits. The tones of that conversation are as much an articulation of the cultural and the universal as the pieces themselves. That's what sets sculpture apart from the illusions of painting, the sculpture is in the world that we inhabit too. Our view of our own place in that three dimensional world has been the subject of much scientific enquiry, so that in this domain of human thinking and feeling, art and science offer parallel perspectives on the labyrinth of mind. I was traditionally trained and have produced many modern abstract works made with classical materials. However, I have found that, with these materials, I am struggling to communicate the concepts which interest me. I am concerned with the skin, the bones and the spirit of life. I look at the framework of the living and am engrossed with the bones, those structural beams that maintain an internal order for the form. Then I look at the spaces between the skeleton and the skin which seem both pregnant and yet also empty. Then comes the skin, this surface that separates the outside world from our inside worlds. It is so thin and fragile yet it holds the organs inside us and keeps all our tissues together. This surface separates our inner thoughts from exterior daily bombardment. Furthermore, each individual observes and maintains their inner and outer emotional and mental worlds. As humans we are constantly trying to find meaning in our lives and are attempting to make connections between our inner-selves and the outside environment. When I was a child my grandfather owned a dress shop. I would visit and see all the women tucked away upstairs fixing and making the dresses. I found this intriguing, and they would let me play with the machines and fabrics. I liked the idea of creating a skin, another layer for ladies to both be attractive and also to hide behind. The fabrics are like skins, that I cut from the fabric of life, sew together and stuff full of secrets and mysteries. I have used fabrics and other layered skin-like materials to symbolize the whole individual; the skin, the structure and the soul. I use both found and new fabrics which represent the individual's old and new memories and experiences. When I assemble each element of the sculptures I am paying attention to the various seen and unseen areas of our existence. Working with the conscious and unconscious paths we walk, I embed within each stuffed piece an object, a secret that will not be shown. The viewer is unable to see completely the inner worlds of these vessels. They might be the hidden thoughts or feelings that lurk beneath consciousness. They could be the DNA or the life experiences that propel us in a certain direction. Whatever these mysteries are the challenge is to become the alchemist and evolve. |
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