 |
 |
 |
||
|
|
|||
 |
First the Forests… 1998.
Macrocarpa and acrylic paint, 8 panels, each 2200 x 250 x 25mm.
Private collection, Devonport.
Robert Pogue Harrison wrote in Forests, the Shadow of Civilization:
. . . .From the family tree to the tree of knowledge, from the tree of life to the tree of memory, forests have provided an indispensable resource of symbolization in the cultural evolution of humankind.
I used the title of his first chapter as the name for this sculpture.
Pool 1998
Macrocarpa, ash, acrylic and oil based stains and beeswax, diameter 3000mm.
Collection of GPK Restaurant, Auckland.
The formation and loss of endangered coral reefs and Pacific micro-organisms is the theme of this series of works. I referenced coral reef formation by constantly repeating the form of a single cell. The central opening of Pool alludes to the volcanic origin and eventual formation of Pacific atolls, where colonies of micro organisms co-exist in the marine biosphere and help to protect other life forms on the atoll. Pool grew slowly. Initially I made the three-metre diameter sculpture in twenty-four separate sections. I then joined the pieces to form two half-sections in my basement studio, before moving the work to the exhibition space where I was able to complete assembly of the work.
Lapita-Coral, 1998,
Macrocarpa, acrylic paint, ash and copper wire, 1200mm diameter x 30mm.
Private collection, Auckland.
The work reveals how time cannot be reversed. It draws parallels between the difficult reconstruction of Ancient Pacific, Lapita pottery shards and the impossibility of repair to an endangered coral reef.I made a cardboard pattern before beginning the work. I then cut the wood sections with a jigsaw and used a chain-saw for surface texture finishing. The pieces were drilled and lightly burnt with a blow torch before joining. Using the traditional method for repairing antique ceramic vases, I drilled small holes in the wood and connected the sections together with copper wire.