c. 2008 (origin date unknown, unearthe in Creekside, Deptford)
When the IIAL – on an archeaological dig kindly funded by the Gold Booker Institute – unearthed the structure in this public garden, we were struck by the 9 layers of resemblance.
The Norsemen never fully invaded [what was not at the time known as] London but raided its creeks and estuaries often. We can only presume that the culture of the great ash tree – the World Tree – was injected into creek-bound aeas of London via cultural and environmental terrorism. Once taken root, the locals – unbeknownst to them, certainly – would ahve enacted this Nordic culture. Though fraternising with the english enemy of the time, sites of praise to Norse nature – and therefore nature itself – are common throughout London.
An exceptional find of the IIAL’s is that the sites of Yggdrassil had an intense olfactory element to the ritualistic site-build. This can be explained simply: the world Tree was to contain all elements of life – so blood, mucus, feed, manure, grime, urine, wine, faeces, and all things that live, breathe and die – and so become sites of building cemented by cements homynym, semen.
In celebrating nature and life, though the Norse gods and myths no longer hold sway over humanity, we can still appreciate the importance of any ste that invites us to examine, to touch and be touched by nature.
The Woman of Est
C. 2009. (origin date, 12th Century; unearthed, Deptford High Street)
Considered lost in the 12th Century, the icon, demi-god and – to a particular sect – godhead of a female worshipping offshoot of Islam, the IIAL here presents the woman restored.
Huge details has been found in the texts of the Est sect on the figure-representation of The Woman. These can be viewed in the IIAL archives on request.
Whether or not the Est sect was correct in their presumption that The Woman represented all archetypal female beauty throughout history (herstory), present, and future, what is clear is that the specific materials defined for usage (here fully restored and used as instructed), these materials are beautiful.
A departure from the IIAL sees me creating a sculpture in earnest.
Sculpture III is made using found-materials of steel, iron and plastic.
As all my sculpture does, Sculpture III questions: form and anti-form; inorganic and organic lines, materials and kinetics; however Sculpture III is also an homage to, and update of, both Man Ray‘s Moving Sculpture and Duchamp‘s Nude Descending the Stairs; a question of the human and inhuman; and also my place as a young sculptor.