Sculpture slideshow - playing with scale

Some of Roz EF's work so far:



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Aesthetic reactions related to mathematical and scientific concepts

Peter A: Sculpture is art in three dimensions. A sculpture occupies a space and the viewer interacts with it. The interaction will be a mixture of:

·          Gut reactions: I love it, I hate it, it is beautiful, it moves me, it is transcendental.

·          Cerebral reactions: it tells a story, it makes a point, it illustrates a concept.

·          Craft reaction: how is it made, is it what the artist intended?

A successful sculpture appeals to the viewer at all levels.

My background is in computing, science and mathematics with a continuous interest in the visual arts, especially sculpture. It has become clear to me that much of our aesthetic reactions can be related to mathematical and scientific concepts such as harmonics, ratios e.g. the golden mean, self-similarity and transformations. My art takes these concepts as a starting point and then I use my craftsmanship and artist's eye to create abstract sculpture.

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I believe that some of the positive gut reaction to my work is related to the subconscious understanding of the concepts. If the viewer wishes they can explore the concepts and my art gives them clues, including the titles, but in some cases a separate explanation may be needed.

Recently I have been exploring harmonics, knot theory and self similarity.

Areas that I am considering for future work include chaos theory, polarisation and the Fibonnaci series.

Thinking about lighting and displaying the work

Judith J: I am currently working on a full size ‘faceless hoodie’ knitted in wire. It deals with the fear of the unknown, of what is not understood. An important part of the work is the shadow cast. The piece itself is illusionary and intricate and sparkles, but it casts a darker shadow. Next step is to decide how to display the 'hoodie' and to sort out the lighting.

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Controlling a sculpture or installation's viewing points to surprise and disorientate

Judith J: One strand of my work plays with perspective, reflections and optical illusions. I make boxes with controlled viewing points to surprise and disorientate. I have made a maquette for my next piece and am now attempting to make it three times larger out of sheet aluminium, a new process for me so two steps forward one step back at the moment...

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Sculpture as breaking space

Breaking space and broken dreams

Sculpture is breaking space; transforming the environment, through the inclusion of one or more objects.

Tony A: "Breaking has many connotations.  I am interested in the inevitable breakdown and decay of all materials through their reaction with the environment.  As I was brought up by the sea, I am especially keen to use materials that have been carved by the sea.  Not just driftwood, but also the salt stained, rusted metal of broken sea defences, and the sand smoothed stones.

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Breaking-down also influences the techniques I favour.  Much of the work is generally cut or carved, rather than cast or modelled.  I prefer to use discarded and left over materials.  I like surface treatments that illustrate the process of breakdown, of use and wear, such as rust, burning and partial polishing.  To me this is more representative of the real world than the shiny, antiseptic, mathematical shapes of many sculptures, which seek to avoid the effects of time and wear, rather than rejoice in it.