sculptech_01

From the age of 7 years, I was drawn to the secret language of sculpture through reading about ancient archaeology. There was a glimmering of fascination with Egyptian pharaonic stone carvings. I gained an introduction to the art of lost cultures, from the Phoenicians and Minoans to the magnificent depictions of human form by the Babylonians and Greeks.
I began to doodle at 15 years and noticed how few strokes could evoke or suggest human forms. At 16 years I was introduced by a friend to the riches of the worlds of literature, music and philosophy. I am indebted to David Odell for an esoteric education which was an indispensable preparation for an artist.
In the course of studying Engineering, a friend invited me to join him in a weekly introduction to sculpture given by Clive Murray-White. I had an intimation that I would pursue this one day. It was 1972. Then I discovered the works of Le- Corbusier and loved his architecture and also that of Lloyd Wright. It wasn’t long before my enthusiasm for the literature of the early 20th Century, that renaissance of the arts and music, that revolutionary period; led me to the discovery of Modern Art.
The combination of my interests in Music (I play the violin) and the concrete/plastic Arts, together with the precision of geometric forms, expressed itself in calligraphy and afterwards in clay and stone.
I developed fluidity in the elucidation of the line and with an integration of the principles of harmony, rhythm and balance I began to sculpt. It was 1980.
The sculptors who exerted the most influence were Picasso, Gaudier-Breska, Moore, Arp, Lipchitz and Boccioni. Their effect extended into architecture and design throughout the 20th Century. Their inspiration has guided me in my explorations of organic forms as the basis for my work. I have merely built on their achievements. Sculptors such as Brancusi have set a standard which has not been exceeded.
There have been several phases in the progression of the works. During the early 1980’s, a semi-abstract style evolved. I focussed on head and figure combinations such that when the piece was viewed from the four directions, a different image emerged. The work itself proceeded spontaneously from a minimum of design afore-thought leading to the experience of pleasurable surprise.
I made a series of atavistic heads which revealed visages reminiscent of distant civilisations as if drawn out of the collective subconscious. More significant again were the “Mayan” sculptures, discovered by chance and later consciously researched. I realized that my personal obsession with time in its cycles reverberated in Jewish as well as Mayan cosmologies. That phase ended in 1991. I was 40 years of age.
From that time my work became more consciously Jewish. I was very fortunate to meet my wife to be in 1992 and to spend the next 4 years in New York. Back in Australia in 1997, I made pieces based on precise drawings, both calligraphic and abstract figures. That phase ended in 2007. I am currently beginning a new phase whereby there is not a reliance on the drawing but rather spontaneity built on a structure that is itself a calligraph. I am seeking to build on the past and transcend its limitations.