Incognitus Organicum Aetas (2018) #3
{H-20” W-22” L-18” 13.5 pounds}
[Solid, Lamp Worked Borosilicate Glass; Copper\Nickel Electroforming, Nickel/Bronze Electroplating]
This piece may be interpreted as a once living entity from a divergent geological age, a specimen from an archeological discovery that is of unknown origin and beyond time.
Represented as a historical museum exhibit, there seem to be absent components, not recouped from the uncovering. These missing segments are supplemented with steel to affirm the perceived original gesture.
Glass symbolizes the pre-existing bone structure. The metal peeling away from the glass resembles the flesh that was captured before becoming frozen in time. This divulges the glass substructure as revealed beneath the bronze. The extensive maturation of coral growth as seen in the calcification is communicated upon the time of unearthing.
While developing this body of work, I studied all materials that were accessible. The most appropriate mediums that seem to align without constraints are glass and metal. After extensive blacksmithing and bronze foundry metal studies I surmised a process that would produce these ideas within, my means, as well as, museum quality standards.
As a sculptor, I enjoy the accelerated working time of glass. Stone is always waiting for more work. Ceramics can be slowed down. Wax is endless. The glass gives a time limit to its forgivingness. This allows me a moment to empty the thoughts of what I should and can create. One must grab that furnace or torch-heat and run with it before it is gone. Let the material speak for itself.
I look forward to continuing work with a variety of museums in order to depict this abstract mode of thought, interpretation that may cross the representation of unreal with possible.
{H-20” W-22” L-18” 13.5 pounds}
[Solid, Lamp Worked Borosilicate Glass; Copper\Nickel Electroforming, Nickel/Bronze Electroplating]
This piece may be interpreted as a once living entity from a divergent geological age, a specimen from an archeological discovery that is of unknown origin and beyond time.
Represented as a historical museum exhibit, there seem to be absent components, not recouped from the uncovering. These missing segments are supplemented with steel to affirm the perceived original gesture.
Glass symbolizes the pre-existing bone structure. The metal peeling away from the glass resembles the flesh that was captured before becoming frozen in time. This divulges the glass substructure as revealed beneath the bronze. The extensive maturation of coral growth as seen in the calcification is communicated upon the time of unearthing.
While developing this body of work, I studied all materials that were accessible. The most appropriate mediums that seem to align without constraints are glass and metal. After extensive blacksmithing and bronze foundry metal studies I surmised a process that would produce these ideas within, my means, as well as, museum quality standards.
As a sculptor, I enjoy the accelerated working time of glass. Stone is always waiting for more work. Ceramics can be slowed down. Wax is endless. The glass gives a time limit to its forgivingness. This allows me a moment to empty the thoughts of what I should and can create. One must grab that furnace or torch-heat and run with it before it is gone. Let the material speak for itself.
I look forward to continuing work with a variety of museums in order to depict this abstract mode of thought, interpretation that may cross the representation of unreal with possible.