Grant Watson’s show, Sculptfiction displays a broad oeuvre of 17 sculptures. The range of his deft vigour is evident in Calle Muro and his ability to demonstrate edifying, confident humour is unmistakable in Before I Lay Me Down To Sleep. His work narrates, describing insight through sculptural investigations. Watson’s inventive material use and most importantly, a considerate deliberation of various human experiences delivers jostling perspectives through witty visual banter, seductive colouration, calculated texture and wistful sculptural practice.
Lectern is a podium for raising our understanding of intense, primal activity. Like a yoni-lignum, Watson embodies the sexuality of human interaction through the structural integrity of emblematic forms. A multifaceted, undulating and corrugated shape clutches an extruded sphere on one side of a waveform. An unyielding phallic fringe, secured by a carved petal relief pokes out at the edges of the void hemispheric cavity on the other half of this interpretive duality. This taunt encourages visceral contact, enticingly and pawing simultaneously. The edging constructs a protective picket. Inside the opposite embracing waveform, similar picketing surrounds the extruded sphere within the encirclement. Watson expounds the opposing contrasts of yes and no, of open and closed, where our perpetual symbiotic dichotomy is in constant flux.
Watson’s Private Idaho measures forfeiture. He describes precarious development, which induces displacement of domesticity. Perched on top of a yellowed ovoid is a vacant white house icon. Watson dares to acknowledge the valued presence of sloppy oozing, ideas that collect brightly and separately, in spite of attentive maintenance to balance - the forfeit. This undefined green substance is the genesis of new opportunity cradled in the unique measuring mechanism that supports the tilting elliptical symbol of contrived optimism.
How Owed Are You cunningly refers to the tiny music box that turns the tune ‘Happy Birthday’ found in the centre of this brash wall work. Redness shouts robustly; however, tool marks, subtle below the red-stained surface gently caress the studded plane, placating the need to remember antecedents to this presentation of assertiveness.
Figurative works include the wall sculpture, I Dream in Red. A boy’s vulnerability is perched on a pyramid of steps. The red arched background shrouds his dream state, which truncates his mind from his body. Ballooning ideas hover above. Here, Watson’s whimsy balances the significance of this narrative. The dreamer cannot see the strength that supports him, the walled structure below, concealed by delineated steps. A wall of bricks under the dreamer is firm yet sometimes protrudes. This construction reveals potency and strength that supports innocence, which is impressionable. Watson’s construct of the future shows narrates how we are dependent on the consequence of the dream. All dreams. Grant Watson’s work is the result of disciplined dreaming.
Grant Watson Website
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