Home' Scoop Homes and Art : Insite 23 Summer 2009 Contents or imaginary form. His 2004 exhibition e Nature of ings for
example, was informed by the banality of modern icons such as
refrigerators and crowd control barriers.
" ere are fundamental ideas in my work that haven't changed,"
he says. " e interest in presence and absence for one. But my way
of working has become more introspective, and I don't necessarily
need the art to lead to clearly articulated resolutions.
" e objects come from a place in my imagination that I have faith
in even though I don't fully understand it. is is what keeps me
going. But feeling comfortable in this gap has only really come in the
two years I've been away."
At the moment the former sculpture lecturer is completing three
public art projects: one at Socrates Sculpture Park in Queens, NYC;
another in downtown Manhattan commissioned by the Public Art
Fund; and the third here in Perth for St Georges Cathedral.
"Living in New York has forced me into a very sharp focus, and
lead to new places in my mind." he says. "Almost as a survival
mechanism, because there's so much going on here I live in a
perpetual state of extroversion. is has also lead to deeper states of
"I think it's had a distillation effect in terms of knowing what I
like and what I want to create. My ambitions have a way of finding
form and context here -- and they're growing.
" e public artworks will be a way for me to really become part of
the city's fabric, while still keeping my ties with Perth." I
Christian has exhibited at Goddard de Fiddes Gallery (2005, 2006,
2007), the National Gallery of Australia (2005), the Museum of
Contemporary Art in Sydney (2006), the TarraWarra Museum of Art
(2007), the Gallery of Modern Art in Brisbane (2008) and the Art Gallery
of Western Australia (2009).
The three life-size sculptures Simon, Raph and
Ti m, which were exhibited at Sydney's Museum
of Contemporary Art in 2006 and Goddard de
Fiddes Gallery in Perth the year after, evolved
out of a fascination with the various buskers
Christian saw while travelling through Europe.
"I began to think about the strange ways in
which we relate to the icons we manifest," he
says. "And how icons live and change through
processes of simulation. I wanted to create
objects that layer time, aesthetic s and degrees
of intentionality as a means of questioning our
perception of these processes.
"I also wanted to pay homage to the busker
phenomenon by making them icons -- in a sense
set ting the simulation clock back to zero."
The figures are of archetypal street
performers -- man as classical sculpture, man as
sarcophagus and man as robot -- meticulously
remade in the material they imitate: marble,
gold and aluminium.
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