free-form sculptures
untitled white abstract figure+2024,
latex paint, wood, nails, string,
31.5x 16.25 x 30.5 cm. $450.00
red beastie head+2024,
latex paint, enamel spray paint, wood, root burl, nails, wire, chain.
87.5 x 60 x 103.125 cm. $5000.00
yellow portrait+2024,
latex paint, enamel spray paint, wood, tree root, nails, wire,
80 x 35 x 92.5 cm. $3500.00
critter etched head+2016,
cedar wood, threaded rod, nails,
28.75 x 35 x 73.75 cm. $2400.00
bug etched head +2016,
cedar wood, threaded rod, nails,
32.5 x 28.75 x 64.5cm. $2400.00
grey+grey+2021,
wood, latex paint, nails, wire, string,
120 x57.5x 77.5 cm. $ 4200.00
orange beastie+2021,
latex paint, nails, wire, wood, tree root
123.75 x 50 x78.75 cm. $ 3800.00
klein blue+2021,
wood, nails, wire, thread,
55 x 27.5 x 126.25 cm. $2500.00
blue beastie+2020,
wood, tree root, nails, wire,
180 x180 x 510 cm. NFS
different sculptural processes can differ in particularities; free-form sculpture made in real-time describes spontaneous and experimental morphology happening intuitively and in haptic terms of proprioception. embodied doing-ness is proprioception, and its enactivism is a personal knowledge, from a self-determinate work loop, evolving into an idiosyncratic aesthetic language. what do materials “afford” (james j. gibson, The Senses Considered as Perceptual Systems, 1966) a maker? provide serendipitously? while making in the woods?
this can be non-objective/non-representational/conceptual/emotive/sensorial or material responses to an idea where form and content are one. these assembled/constructed structures are free from conventions/constraints; sometimes characterised by asymmetrical, irregular or abstracted interpretations of the world. free-form sculpture is a modern innovation. sometimes organic in shape or industrial in its geometric hard lines; as a concept, the strength of automatic action contrasts premediated planning by allowing the immediate selection of material to influence spontaneous making. often these selections are unconsciously ideas joined to material meanings without explanation.
however, sometimes reality can make connections to memory and experience or associated meanings given to material/colour/texture and shapes. the language of free-form communicates relationships that share co-creative potential; where form elements become semiotic. in terms of charles sanders peirce’s pragmatism, it predicates layers of meaning between a triad: observer/observed/interpretation. triadic intensions, extensions and abstractions leads to asking about a third-ness of imagination after fantasy and productive as mediating between doing and discovery of lateral leaps of poetic sensibility from the land—storytellingworld.
a language of co-creation within interdependent exchange could be described as transcognitive inference because its relationship is an extrapolation without logical mapping or predictions. this speculation exists as intuitive/personal knowledge manifesting peirce’s visible phaneron (what exists in the mind) within phanteroscopy (phenomenology- interpretation of experiences/appearances), conceptually understood as phenomena (appearances) present in the mind and reflective of phenomenological consciousness, where senses and reason discover/describe meaning. a difference with in situ vernacular could be relational. in-and-itself ontology having unknown capacity to create meaning versus for-itself human centricity wanting knowable facts and definitions of predicable interpretations. what if material and making exchanges are spirit one-ness? more-than-empirical? without verifiable or pragmatic logic? what if spirit is convergent?