The evolution of dings

There are times when I know how I reached a certain place in my artistic journey because it’s all very transparent, an exciting inspiration resulted in a very sure attempt. At other times, it’s not that clear and it takes me perhaps over a year to see a pattern emerge. But once it does, it gives me great satisfaction because I start to see a direction in my (seemingly all over the place) artistic evolution, a growth - and a confirmation that I am not going crazy.

Here is one really good example. I had been curious about the tripod vessels* made in the earliest neolithic cultures of China, often referred to as "dings". Designed as cooking vessels, supported by the three legs that would fix into the ground, under which a fire was lit, so fascinating!

fig. 1

However, what I loved most about them was how much they reminded me of some-thing-animal. I wondered if the makers of these vessels saw this too. Did they consciously imitate their natural surroundings or it subconsciously found its way into the work. Then I wondered about other things such as: if our actions, our ideas, are truly our own? Or does nature work through us? I was so moved, and of course I had to attempt to build one of my own. And so a year back, I made my first vessel of this kind (fig.1).

fig.2

By August, 2022, I had reached a place which felt like I was honing in on that thing-animal in the shapes I was creating. I left stylisation behind, trying to capture something more of an essence. The vessel, became more fleshy and, more voluptuous (fig.2). Which was probably also influenced by the podcast, I was listening to at the time, on figurative sculpture by Jason Arkles, The Sculptor’s Funeral** - Where all the great artists are dead, and I don’t feel too well myself :)

By October that year, the form had developed for a world of its own. The vessel, that began as a utilitarian object with something indigenous about it, grew more and more foreign (fig.3). And from that point on, I would say that the work broke away from its class and developed its own new order.

fig.3

This foreign aspect, that was so dominant about the works, started to drive the creation. I was transported into a world without humans, perhaps after us, post-anthropocene, when nature rebuilds, these creatures like megafauna, once again striding across the lands.

Here are some images of that work in progression. These are some of my biggest works, weighing up to 10 kgs and took months to create. Maybe I have entered a new epoch with this kind of (sculpture) work and this world, post-man, and how nature continues, with or without us is just beginning to open up more ideas in me.

Lastest images from the shoot

*Tripod vessels - reference images

**Jason Arkles - The Sculptor’s Funeral Podcast - Can art die?