The art of writing is the mother of orators and the father of artists
- Sumerian Proverb

Like many children I enjoyed anthropomorphic allegories along with the visceral meditative experience of transfiguring clay into animal models. I was, and am, enthralled by wildlife's sheer diversity, their adaptive super-powers, and astounding resilience in ever challenging environments. For me, this constantly evolving melange and necessity to adapt, extends to our collective life journey. How we narrate and continuously recreate ourselves within our impermanent landscapes. My sculptures stand as formulative comment on this intrinsic impetus to perpetually and adaptively transform ourselves.

Using the cultural inception of Mesopotamian cuneiform writing as an artistic device, I re-imagine cuneiform tablets as though moulds, employing the cuneiform characters, or negative voids, to cast new positive triangular clay versions. These cuneiform characters are then retro-assembled to a boundary in antiquity where they are still recognisable animal representations, but are on the cusp of segmenting into abstract characters that will form word-concepts or ideograms. I aim to embody this transformative momentum as it reaches out to a more contemporary form of expression.

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Artist Statement

The art of writing is the mother of orators and the father of artists
- Sumerian Proverb

Like many children I enjoyed anthropomorphic allegories along with the visceral meditative experience of transfiguring clay into animal models. I was, and am, enthralled by wildlife's sheer diversity, their adaptive super-powers, and astounding resilience in ever challenging environments. For me, this constantly evolving melange and necessity to adapt, extends to our collective life journey. How we narrate and continuously recreate ourselves within our impermanent landscapes. My sculptures stand as formulative comment on this intrinsic impetus to perpetually and adaptively transform ourselves.

Using the cultural inception of Mesopotamian cuneiform writing as an artistic device, I re-imagine cuneiform tablets as though moulds, employing the cuneiform characters, or negative voids, to cast new positive triangular clay versions. These cuneiform characters are then retro-assembled to a boundary in antiquity where they are still recognisable animal representations, but are on the cusp of segmenting into abstract characters that will form word-concepts or ideograms. I aim to embody this transformative momentum as it reaches out to a more contemporary form of expression.

Sections