On visiting the Musee National du Moyen Age in Paris I saw series of head and column capital fragments. Larry, my brother, during conversation about how impressive these displays were, made a comment to me of how little was needed to represent a head. Thus, started a series of minimalist heads with subtle variations and strong iconic emotional responses: my pre-colonial, southern Ontario historic series.
These recent sculptures are the product of modern metals, tools and equipment, and yet, though they couldn’t be produced except in our age of mass production, the sterility of mass consumerism is absent. To produce these objects, my hand eye coordination is evident in the bending of the metal to my will. Steps in the fabrication of these works are evident in the final pieces. The accumulation of decisions and processes remain, imparting a narrative, to be followed by the observer.
Certain objects concentrate thought and cause us to focus. This is true whether it is Neolithic or modern man. There is no difference. Only the objects change. A good friend described this as, “the sculpture has energy”. You can follow the thought concentration or revel in the lustful rebelliousness focused in the work.
I think that all Canadian artists who grew up in my generation have a connection with the land, a certain Stone Age mentality that follows them and their work, a pithy bloody knuckles mentality that adds grit to our best work.
Artist statement 2012