Artist Description
This work comprises of two sections
Artist Notes:
This work aligns to the competition theme (On the Brink: Visualizing Climate Change), as it is the product of an innovative and earth-focused creative process described above as sand casting, negative imprints are created in sand, clay as a recording tool captures the imprints into positive formations, when fired at high temperatures, these imprints and formations could last up to 30 000 years.
Human beings have been leaving their imprints on the earth’s surface for thousands of years, from the temple ruins like Gobelki Tepe in Turkey (12 000 years old), Adams Calendar in Waterval Boven Mpumalanga (75 000 old) or the gigantic Nazca Lines of Peru, South America (2000 years old), whether for creativity, spirituality or architectural purposes, in more ways than one this translates to the human impact on the environment.
The process of sandcasting itself makes the majority of the artwork with little intervention from the artist. Therefore, the finished piece is an emblem of innovative artistic studio practice that responds to the needs of our current natural environment right at the mercy of our anthropogenic influence whilst simultaneously visualizing the potential future of a dying "post-biotic" natural world.
Manganese Particles (diptych)
Materials used
mixed media of manganese oxide & gold glaze on sandcast terracotta clay
Size
W:18cm X H:15cm X D:10cm
Year
2021
This is a unique work
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- Artist Description
Artist Description
This work comprises of two sections
Artist Notes:
This work aligns to the competition theme (On the Brink: Visualizing Climate Change), as it is the product of an innovative and earth-focused creative process described above as sand casting, negative imprints are created in sand, clay as a recording tool captures the imprints into positive formations, when fired at high temperatures, these imprints and formations could last up to 30 000 years.
Human beings have been leaving their imprints on the earth’s surface for thousands of years, from the temple ruins like Gobelki Tepe in Turkey (12 000 years old), Adams Calendar in Waterval Boven Mpumalanga (75 000 old) or the gigantic Nazca Lines of Peru, South America (2000 years old), whether for creativity, spirituality or architectural purposes, in more ways than one this translates to the human impact on the environment.
The process of sandcasting itself makes the majority of the artwork with little intervention from the artist. Therefore, the finished piece is an emblem of innovative artistic studio practice that responds to the needs of our current natural environment right at the mercy of our anthropogenic influence whilst simultaneously visualizing the potential future of a dying "post-biotic" natural world.
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