Dissent was an entry for Sculpture By The Sea Bondi 2014. It was accepted for the exhibition, but unfortunately I was unable to secure funding to cover the estimated $15,000 construction cost, and so I had to withdraw from the exhibition.
The work combines the pipe and valve material language of my steel sculpture, with the massing and repetition of objects that is a part of my wall sculpture and photographic practice. It arrays a field of identical (but for one) anthropomorphised valve figures, whose arrangement creates dynamic moiré patterns as clear lines of sight through the work appear, shift, and then disappear.
My goal was to capture an experiential quality similar to that which I felt while standing amidst Antony Gormley’s A field for the Art Gallery of New South Wales. However, rather than the godlike delight one feels while standing within Gormley’s work, looking down at the upturned faces, and perhaps naive adoration from the figures, it is my intent for the viewer to experience something else – that precise moment for a person in power, at which the spell of obsequious conformity amongst countless supplicants is broken by a single dissenter returning their gaze.
The dissenter either proves us wrong, or forces us to be more right.
BØN541 v2.0 was created for the University of Western Sydney Sculpture Award & Exhibition 2014. It’s constructed from computer motherboards, and braided stainless steel hosepipe over a stainless steel armature.
The work was supported with a material sponsorship by Convoluted Technology Pty Ltd, who supplied the braid.
This work has since been disassembled, and its materials recovered.
This is Reconfigure, a work which takes the thematic elements of earlier steel and valve works like “This?“, and translates them into different materials.
The work consists of two parts – a chain structure made out of oiled recycled wood, and a length of recycled ferry mooring rope.
For a permanent installation, the chain could be attached close to a ceiling via the stainless steel eye-nuts, rather than the temporary truss structure in these images. It can be reshaped side to side, and the droppers adjusted up to 3 metres, allowing the sculpture to be adapted to suit whatever space it’s in.
Oiled reclaimed wood.
Reclaimed Sydney Ferry mooring rope.
Stainless Steel cable & fittings.
Dimensions variable. Approximately 9.9m long x 3m high.
Available to order in custom sizes.
Here are some examples of possible alternate configurations for the work. In this case, the mooring loop was taken off the end of the rope. Left on, the work could effectively capture the moment of the thrown mooring line in the air.
From the first sluice gate in an irrigation ditch, to the modern industrial world, or the vessels of our circulatory system, the valve is a concept that for me, captures a fundamental structure within life.
Its purpose is to restrict or block that which passes through it, yet in doing so, it enables whatever it is restricting. It is an adversity device, the challenge against which successes are measured, the setback against which we aim higher, limitation in all of its forms which inspires our greatest achievements.
This valve is neat, a clean example of industrial-strength control and protection. It supports a corroded pipe, which left in the elements will corrode further, until it is replaced by new sections which can begin the corrosion cycle anew. Looking through the pipe, the half-moon view created by the valve’s partially closed gate, occludes and frames whatever vista the work is oriented towards.
This work is a finalist in the 2012 University of Western Sydney Sculpture Award & Exhibition. The exhibition takes place from May 4th – June 3rd 2012.
An attempt to create a smaller version of “There”, and tackle the problems of relative scale in the various components. When changing the scale of a sculpture, one has to take into account some fundamental issues to do with viewing angle, viewing distance, perceived weights etc.
Building on the process of Left Hand, this work scales up, while stripping away. Four years, seven months, three weeks and six days worth of prescription medication vials capture time in the form of mass repetition.