Wellington boots with arms – photomontage
A photomontage showing arms emerging from the tops of a pair of wellington boots.
The arms are sinking down into the boots, as though the boots are devouring the owner of the arms. The theme of predatory footwear is one that I’ve explored several times over the past few decades. Another example can be seen here – shoes with teeth.
This photomontage was created while I was exploring various options for creating a sculpture that included wellington boots. I feel that these boots have a strong sculptural presence, and I’m quite surprised how under represented they are in the discipline.
The image, which I think probably falls into the category of contemporary surrealism, is meant to be both humorous and unsettling.
Abstract watercolour with fresh fruit
This image was created by a process of serendipity.
I had recently created the abstract watercolour square using a technique that I’m experimenting with at the moment. Then I decided to experiment with creating sculptural forms from bananas. I placed the banana on top of the watercolour while I wondered what to do with it (not normally good practice) and decided that I liked the composition and the contrast in form between the watercolour and the fruit.
Translucent sphere on a marble column: 1993; height: 20cm
An abstract sculpture that uses a translucent resin sphere on the top of a marble column to capture the effects of the light.
In the photograph the sculpture is positioned on a slate base against a rough painted granite wall to give the work a robust organic feel.
It’s hard to tell how big this sculpture is from this photograph.
The square ends of the two blocks from which the sculpture is composed could maybe be a metre across. In fact they are closer to five centimetres, as the piece is created from lengths of two by two wood (two inches by two inches).
The work has a strange relationship with scale. It’s small, but it could be big. If there was a zoom facility for three dimensional objects that worked in a similar way to that on computer and phone screens, where you simply touch the surface and drag in or out to change the size, this sculpture would beg to be dragged just to see how it worked at different scales.
At it’s actual size this sculpture looks as though it’s happy at the size that it is, while somehow containing the spirit of a larger sculpture within itself. In some ways it gives the impression of being a large object that is somehow being perceived as being small, as though viewed through the wrong end of a telescope .
As I mentioned, this work is composed of two pieces of two by two wood. This is a common size of wood sold in long lengths in timber yards for use in general construction projects. This sculpture came about when I picked up two short offcuts of wood from a different project, that each had been cut at 45 degrees at one end, and placed them on a work surface on their angled faces. They instantly acquired a dynamic and vital presence. Due to the manner in which they rested at an angle they looked as though they were embedded in the surface with part of their form submerged.
One of the things I like about this work is that it is made from extremely simple components – two pieces of wood from a builders’ merchants and a bit of acrylic paint. Yet it doesn’t look like a work created in the spirit of ‘detritus art’ in which the work is deliberately engineered to emphasise its origins in the flotsam and jetsam of contemporary culture (Artists such as Philidda Barlow, whose work I like greatly, and Abraham Cruzvillegas come to mind as good exponents of this genre). In fact this sculpture could almost be mistaken for a tiny example of the ostentatiously highly engineered work that are quite common in modernist sculpture.