An attempt to elucidate the mechanical poetics of Bow Down and Very Low - 123
A series of 3 sculptures developed for Ingrid Pollard.
A series of 3 sculptures developed for Ingrid Pollard.
This is a work in process.
What follows is in no way a challenge to the associated artistic narrative framing these art works within the context of Ingrid Pollard's important body of work.
Rather this is my continuing process, as a practitioner, of investigating and exploring the language through which they articulate and communicate meaning.
Rather this is my continuing process, as a practitioner, of investigating and exploring the language through which they articulate and communicate meaning.
The archeology of all these parts are the words in this sculptural mechanical poetry, the combining and joining of these parts are the phrasing and sentence structure.
An awareness of the exact nature and specific history is perhaps not necessary, although these pasts exist.
Each of the parts which form this whole has a previous history and context.
This contributes to the essential sculptural quality which communicates and articulates.
This is the language.
This language has an historical context and grows over time absorbing without judgement any available technologies old and new, efficient, precise, clumsy, shiny, eroded.
In their moving any uncanny similarity to the human is not by chance.
Although many seemingly miraculous occurrences do take place as the possibilities are refined.
This occurs through conversation and drawing and sculptural prototyping.
In this vein we can see these sculptures as having come about by a genius creative spark which miraculously manifested all the component parts together how they are
or
that these sculptures are communicating, living, breathing, articulating, sculptural texts precisely evoking a certain response through a strange poetic analytical methodology which is documented and annotated as an intrinsic part of the development of these art works.
ultimately they are the text
An awareness of the exact nature and specific history is perhaps not necessary, although these pasts exist.
Each of the parts which form this whole has a previous history and context.
This contributes to the essential sculptural quality which communicates and articulates.
This is the language.
This language has an historical context and grows over time absorbing without judgement any available technologies old and new, efficient, precise, clumsy, shiny, eroded.
In their moving any uncanny similarity to the human is not by chance.
Although many seemingly miraculous occurrences do take place as the possibilities are refined.
This occurs through conversation and drawing and sculptural prototyping.
In this vein we can see these sculptures as having come about by a genius creative spark which miraculously manifested all the component parts together how they are
or
that these sculptures are communicating, living, breathing, articulating, sculptural texts precisely evoking a certain response through a strange poetic analytical methodology which is documented and annotated as an intrinsic part of the development of these art works.
ultimately they are the text
fig. 1
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fig. 2
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fig. 3
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