The original design of this large indoor/ outdoor sculpture was loosely based upon the mathematical formula of a Costa Curve. The intention was that the sculpture should appear to be a large prehistoric bone exhumed from the layered breccia of pre recorded history.
The form therefore acts as a visual cue to the underlying notion of a remnant of things past becoming something of permanent record. The medium selected for the execution of this sculpture had to remain true to this basic premise. So the sculpture could not be made from something like cement render, or a synthetic polymer, but had to be a medium, that reinforces this central concept of record. Just as a bone from prehistory can be read by the skilled palaeontologist to reach conclusions, not only of its origins, but of how it might have once fitted into the fabric of its times, so this work also needed, in some way, to provide a pathway back to events that led to its creation.
From this underlying principle, it soon became obvious that the medium for this sculpture had to be paper. Not only does paper carry in its cellulose memory a history of its journey from timber farm to wood mill, but after being printed, or written on, paper becomes, for a brief time, the visual record of local, global and corporate events of the day. If one looks carefully at the surface of this sculpture one can catch the odd glimpse of a letter, or numeral and even at times, part of a word as the paper resisted attempts at complete subjugation and insisted on keeping tantalising partial records of events intact. In this way this sculpture and its selected medium of expression serve a similar purpose to the bones of a fallen dinosaur. It allows future generations, through access to tantalising fragments, to perhaps make sense of the past.
So having chosen the design to be a great bone artefact and the medium in which it was to be executed to be paper, the next step was to find a concept that could be adapted to serve the required purpose. Several ideas were considered before the mathematical formula of the Costa Curve was settled upon to provide the framework for the design. This was then creatively manipulated and extended to form an interesting design.
The work was constructed using a structurally solid framework of mild steel that was then treated with an anti-rusting compound. This frame was then covered with a minimum of five layers of galvanised bird wire mesh sewn together with galvanised steel wire. It was then covered with a mix of pulped paper and a co-polymer binding agent which, to some extent, returns the cellulose material to its original wood format.
For the saga this work being trasported to Sculpture by the Sea in Bondi click here
Some views of version #1 after sanding and sealing
Above Artefact #1 at SXS Bondi and version 2 at Swell Sculpture Festival below
The work installed at Swell comes in for some critcal appraisal
Artifact #1 Installed in a garden setting