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Throughout
my career as an artist I have had recurring themes that have
developed in widely differing ways. I first started using
rope as part of sculptures in 1972 when I wrapped up a chair
using a spiralling rope as part of a show at Cardiff Art College.
Using doors within an art piece first occurred as part of
a performance with Ian Hinchliffe at Wilryck University, Antwerp
in 1979. Suits were first introduced into my work when I was
working with wood chips throughout the 90's. Initially the
suits were used as hollow structures with which the wood chips
were supported. Later the suits became extremely solid by
being filled with concrete. |
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In
the year 2000 I started to move away from permanent sculptures
and began using a range of materials that could be easily
manipulated to create sculptural forms. These sculptures were
never meant to be permanent within themselves and were created
for photographic record. The photographs were the things that
would be eventually exhibited. By the production of these
“photosculptures” I found myself becoming increasingly
interested in the process of production that went with the
final result. Having worked with Matt Brownsword since 2002
on film projects I began to experiment with recording the
production of a sculpture using time lapse film techniques. |
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The
process of time lapse film making seems to offer a way of
exploring a blank canvas using kinetic brush marks. In the
“doors of perception” film a number of themes
are brought together. The ropes become both a way of anchoring
the piece to a base but also as a way to entrap the suit within
a layer which is both a burden as well as a way to feed energy
into the sculpture. The entanglement of rope can be seen as
veins, that become an essential source of energy for the sculpture
to function. As the ropes disentangle themselves and the figure
gains freedom from them it takes its first shaky steps. |
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The
process of production of the stop motion film in itself embodies
the piece with a vitality that can be exploited to extend
the life and animation of a sculpture. They engage the viewer
in the process of making and unmaking. |
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