Reflection of work
Throughout the course my work has developed to focus on the material. There were originally two sides to my work; 1- the aesthetic value and the perception of luxury which I focused on through reflective surfaces and commercialised stainless steel sculpture; and 2 - the other side of my work which explored the process of art and the intrinsic value of making sculpture. A changing point for my work was seeing the Chelsea school of Art’s BA Show work and how some artists used mild steel to create the kind of sculpture I was trying to create with stainless steel.
I moved away from using stainless steel as this was very limiting in terms of what I could produce, and mild steel allowed me to manipulate the material in many ways such as colour distortion and welding. Work has now focused on materiality, and exploring the potential of a material. The value of my work comes from the intricate details of the material and how the viewer interacts with the work by being consumed by the fine distortions featured in its image. A final way my work disrupts the notion of sculpture is through the language of painting. Each of my pieces have used sculptural processes within the format of painting, and vice versa, combining two-dimensional surface on three-dimensional context to amplify viewer engagement and interaction therefore, this creates a more 'consuming' piece of work.
Q1. Your work has developed over the course to focus on the material. Can you explain more about the evolution of your practice?
There were originally two sides to my work; 1- the aesthetic value and the perception of luxury which I focused on through reflective surfaces and commercialised stainless steel sculpture; and 2- the side that explored the process of art and the intrinsic value of making sculpture. A changing point for my work was seeing the Chelsea school of Art’s BA Show work and how some artists used mild steel to create the kind of sculpture I was trying to create with stainless steel. Stainless steel became very limiting in terms of what I could produce and although the high shine surface was attractive, I couldn't create a 3D form with it. Mild steel allowed me to manipulate the material in many ways such as colour distortion and welding, as well as create a 3D object. Here I realised that the sculptural format and creating an 'object' was more important than the obsession with the high shine surface.
Q2. What is the significance of the collaboration of two mediums within your work in relation to value?
Q4. Have you looked to enlarge scale?
There were originally two sides to my work; 1- the aesthetic value and the perception of luxury which I focused on through reflective surfaces and commercialised stainless steel sculpture; and 2- the side that explored the process of art and the intrinsic value of making sculpture. A changing point for my work was seeing the Chelsea school of Art’s BA Show work and how some artists used mild steel to create the kind of sculpture I was trying to create with stainless steel. Stainless steel became very limiting in terms of what I could produce and although the high shine surface was attractive, I couldn't create a 3D form with it. Mild steel allowed me to manipulate the material in many ways such as colour distortion and welding, as well as create a 3D object. Here I realised that the sculptural format and creating an 'object' was more important than the obsession with the high shine surface.
Q2. What is the significance of the collaboration of two mediums within your work in relation to value?
My work focuses on materiality, and exploring the potential of a material, so its medium isn't important. I disrupt the notion of sculpture through the language of painting. Each of my pieces have used sculptural processes within the format of painting, and vice versa, combining two-dimensional surface on three-dimensional context to amplify viewer engagement and interaction therefore, this creates a more 'consuming' piece of work, with perhaps a higher 'value'.
Q3. Why is consumption such a strong theme within your work?
The value of my work comes from the intricate details of the material and how the viewer interacts with the work by being consumed by the fine distortions featured in its image. When someone looks at art, they are consumed by it and in that moment in time, the work has this power over them through the engagement with it.
Yes, scale is something I am currently working with. I'm trying to create larger canvas-style sculpture which echoes that of a white cube gallery style painting.
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