Reality Underpass – Sculpture

Bringing together the balloon forms in all their variety and a collaboration of found items, I created this sculpture/installation. The vague idea behind this piece is the ‘slipping through’ ‘unnoticed slipping under’ ‘underpassing’ of reality in our modern world. The idea was to use sand to represent true reality that passes underneath the arches and bridges of fast pace, quickest route technology and media that are drawing us over the away from reality in it’s purest form.

The rest of the sculpture has been completely up to my hands and mind at the time of creation. I moved the material and objects around the room in search of a positioning that I felt was right, and continued this process throughout the course of the sculpture.

I do really enjoy this intuitive way of working but as long as I have all the right tools and possible materials to use at hand and all my options around me. And as a result I got the large sculpture below that uses: oil sand, plaster mold and casts, found wires, found cushioning, found wood, melted keyboards, a plinth filled with sand,  polystyrene packaging in a bag and a projector and cameras.

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The projected scene onto the sculpture is a ‘live’ video of the sculpture in the space, the video can only go on as long as the sculpture lasts and thanks to technology, because I am videoing directly what I can see onto the thing I’m seeing, the projected image multiplies and plays back into itself. It creates senses of non stop, forever and continuation, expanding on ideas of constant digital attachment that will go on forever, it’s a bit like a black hole. Also, time in the video gets slower as the video goes further into repeat, there’s something fascinating  and disorientating about something in real time being repeated and changing in sync.

Again in this sculpture I intended for there to be a feeling of system or network going on. The veins of reality pumped into the solid balloon forms and seeping from synthetic substances like polystyrene or wire. The half bitty half clear foam softening and cushioning the weight of the hollow balloon molds that have been mutated to resemble rock formations. The key boards like a control panel for all of it, melted and distorted but still controlling the system of reality and roots of modern life. The video projection ensuring its long living stability and presence, repetition and technological overcast on the flow of the sculpture and modern life.

Using sand in my sculptures and using a process of placement and arrangement demonstrates the temporary and ephemerality of the moment of creation. You cannot move the sculpture without taking it apart and breaking it’s state, the sculpture has been built using lots of different elements especially considering the sand that has been molded into a shape there and then. The ephemerality of the sculpture combined with the reliance of the projection, on the sculpture (because the projection is OF the sculpture) both bare temporal elements that reflect the state of humans on the earth. The momentary existence and blink of an eyelid that we live for in the eyes of the universe is like the building and then breaking down of this sculpture.

Since doing my recent installation sculptural work, I have realised that I need to refine my working ideas. The subject of the anthropocene, climate change, the apocalypse, technology/information world and the desert and reality and living more and using technology less is what all my ideas revolve around and that is a lot to consider, it is such a huge mass of subjects. However, from the materials I am drawn to collecting and the general outcomes of my installations and sculptures, it seems palpable to say that I am constantly creating divergence and friction between organic substance and the synthetic, mass manufactured. I see that sometimes the contrasting materials work fluidly together and other times they seem to move abruptly against each other, constantly showing their differences and reflecting the way they work together in the wider world. From this point onwards, my sculptural and aesthetic awareness will be with this notion of division and juxtaposition of organic forms and natural life and that of the bold, damaging, now so familiar world of man made products, mass production and remnants of human existence.

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Creating forms

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In the casting workshop over the past week I have desperately been attempting to cast misshapen and deflated balloons that I have been keeping in the cupboard for weeks, just waiting for them to go down. It has been very difficult to do because obviously there is no solid shape to a balloon, its shape is always altering as the air inside is shifted and moulded accordingly.

I initially started making plaster molds by filling in the space around the balloon, to collect the detailed information of the wrinkles and bulges from the outside. A mold of a whole balloon had to be done in two pieces but as of the unpredictable shape, each cast had to be broken and split into many parts to get the balloon shaped cast out of it. It also didn’t help that I was casting a plaster balloon in a plaster mold, increasing the chance of sticking. After many many attempts and lots of broken plaster, I finally tried the alternative mode of creating a cast directly from filling a balloon with plaster, casting from the inside. A mode I initially dismissed because I didn’t think it would work but to my amazement it worked a treat.

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Although I don’t get the detail of the balloon’s knotted end, the exact replication of the creases and stretch marks of the deflated balloon was almost perfect.

Reflection: Despite going through so many attempts using the first way I tried and getting almost no balloon results at all. I did get some really interesting spontaneously devised results with inconsistent shapes and textures that I never could have created if I’d thought about it aesthetically before. Since moving away from these accidental pieces of art, I discovered their evident relationship to the kind of desert, rock and sand forms I have been looking at since the beginning (see below). And once I’d realised this, I started enhancing their relevance and joining pieces together and thinking about the way they looked or could look. I also like how these forms tell a story, how they were intended to be discarded as simple molds for the result I wanted but due to lack of success, they have become pieces of art and sculpture in themselves. Plus, considering the implication of the balloon, these broken molds bare the skin and surrounding negative space of the balloon, leaving its inner shape hollow and empty – a notion I’ve been trying to depict in other works prior to this.

desert rock forms