2021 – This particular piece is in National Museum of Switzerland, as part of the Alice and Louis Koch collection, in Zurich.
To fully understand ‘things’ I felt the urge to ‘deconstruct ‘or ‘cut apart’. I would strive for ultimate perfection, looking at proportions and western ideals of beauty – and the only way was to dismantle it, take it all apart. I was also interested in why western sculptures were stone white and shown in white gallery spaces. Many Greek sculptures where highly colored and it was only much later on that were they bleached either by weather, time or individuals. When I studied at the Glasgow school of art, and had my lunch in the corridors, there were huge white plaster copies of Michelangelo’s ‘enslaved’ and ‘la Vittoria di Samothrace’ – all of which were white. I was also the year of the first fire, and saw images of the white plasters totally blackened by the smoke. That image stayed with me – hence the blackening of the silver. I think it is quite beautiful.
dismantle
dismantle
2021 – This particular piece is in National Museum of Switzerland, as part of the Alice and Louis Koch collection, in Zurich.
To fully understand ‘things’ I felt the urge to ‘deconstruct ‘or ‘cut apart’. I would strive for ultimate perfection, looking at proportions and western ideals of beauty – and the only way was to dismantle it, take it all apart. I was also interested in why western sculptures were stone white and shown in white gallery spaces. Many Greek sculptures where highly colored and it was only much later on that were they bleached either by weather, time or individuals. When I studied at the Glasgow school of art, and had my lunch in the corridors, there were huge white plaster copies of Michelangelo’s ‘enslaved’ and ‘la Vittoria di Samothrace’ – all of which were white. I was also the year of the first fire, and saw images of the white plasters totally blackened by the smoke. That image stayed with me – hence the blackening of the silver. I think it is quite beautiful.