Scribbly Tree 3

This piece alludes to the bark on eucalyptus tree trunks that is synonymous with the Australian landscape. Exploring the intertwined relationships between the naturally occurring chemical and insectivorous processes inspired me to make this piece. Even though each sculpture mark could seem to be a separate expression, they are all interconnected. As a result, the expressions can be understood as having a dual nature, appearing as a mark distinct from other markings as well as a part of a wave of expressions, suggesting that everything can’t easily be separated from its place within the whole.

Co-dependent interactions, however, are only visible in my art-making process when the outcomes are broken down and plotted on a two-dimensional flat plane. Consequently, the human visual experience was created, serving as a metaphor for how we view our place in the world that is vastly larger than ourselves.

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My curved 'canvases' are treated as three-dimensional objects. However, rather than approaching the relationship between solidity and space like a sculptor would, I aim to return to the "flat two-dimensional picture plane." Why is this important?

Nature loves curves. To connect as closely with nature as possible, since we are all part of the same energy, curves challenge us to move beyond linear thinking. This type of thinking often simplifies our daily decisions into straightforward cause-and-effect scenarios. In contrast, curves allow us to explore the ambiguity between the present and the future. The tension inherent in a curve, when juxtaposed with the comfort of a flat plane, invites us on a transformative, nonlinear journey. This journey encourages deeper reflection and meditation on our observations.

Since 2004, I've been evolving this aesthetic thought.