Sacred Spaces | Rose Windows | Figurative | Installation
Sacred Spaces
Sacred Spaces is a body of work that i am continuing to work on that challenges religious systems and explores ideas of space and transparency. My constant endeavour is to create work that the viewer experiences through their interaction with the work. A lot of the works are inspired by gothic and Victorian architecture, stained glass windows and cathedrals.
My motivation for taking this direction is partly in the desire to create art that is more than an object and to explore the idea of sculpting or ‘drawing’ in space. From a distance the perspective of the 3-Dimensional object is flattened, because of the linear construction of these sculptures, and it’s not until the viewer gets close to the work, or even inside it, that the space opens up, and crosses the boundary of being an object to being more like an installation that needs to be experienced.
These sculptures explore the idea of the confined space which is open and closed at the same time. The spaces have openings, doors or archways into the space which may not be immediately noticed. Part of the experience of the work is in the finding of the space and then allowing ones-self to step inside it. The ‘sacred space' sculptures explore the nature of opposites as contradictions that occur at the same time, these works may be experienced as a cage or prison or as a safe place or retreat for contemplation or refuge, and because of the transparent nature of the structure a person can stand or sit inside looking through the panels and up through the vaulted roof pieces and see/be apart of the ‘outside’ world’, and yet it also be in an intimate space, like a personal sanctuary.
Ultimately these works continue to deal with religious systems and symbolism, with the abstract concepts of light and dark in relation to their physical and invisible properties, the seen and the unseen and the nature of opposites which is so prevalent in my art practice.
Gazebo Series
from left to right:
Watchtower Lookout - 1050 x 1200 x 3150 high
Abode for One - 1050 x 1200 x 2500 high
The Hidden Way - 1230 x 1320 x 2800 high
Sanctuary - 700 x 800 x 2500 high
These ‘gazebos’ are sculptural installations that explore ideas of space and architecture. They will use 3-Dimensional line drawing and geometry to create spatial transparency. A person can stand or sit inside looking through the panels and up through the vaulted roof piece and see/be apart of both the ‘outside’ world’ and yet it also be in this intimate space, like a personal sanctuary.
Cathedra Domine
Cathedra Domine is a sculptural installation where the viewer can not just look at but interact with the sculpture. The Cathedra breaks down the walls between religion and spirituality, stripping away the building structure, the hierarchical nature of the church and the hypocritical glitz and expense of the cathedral. While still leaving a space that is beautiful, moves the eye upward to heaven and provides a place that is transparent where what is done inside can be seen from the outside and what is done outside can be seen from the inside.
Artist Statement
Cathedra Domine (Throne of God)
6m x 8m x 5m
2006
Oxidised steel rod
Cathedra Domine is a sculptural installation where the viewer can not just look at but interact with the sculpture, there is nowhere to stand and passively look at the whole, and it’s not until one is close to it that is emerges from space. It is in the experience of walking through it where the encounter of the work takes place.. The Cathedra breaks down the walls between religion and spirituality, stripping away the building structure, the hierarchical nature of the church and the hypocritical glitz and expense of the cathedral. While still leaving a space that is beautiful, moves the eye upward to heaven and provides a place that is transparent where what is done inside can be seen from the outside and what is done outside can be seen from the inside.
Cathedra Domine challenges religious systems. I have removed all the peripheral structures of the Catholic cathedral by discarding all the statues, alters to saints, side chapels, the confessional; things that indicate a hierarchy to reach God. In medieval cathedrals, excess is the key. These magnificent cathedrals that are said to have been built to honour God were most often done at the expense and spiritual manipulation of the people. I’ve taken away the excessive display of wealth where material wealth was an indication of spiritual wealth, and I’ve constructed a space that is a more ‘personal’ size. It strips back the excessiveness, exposes it and provides a transparency that makes it vulnerable. A transparent church does several things; most inherently it has the capacity to contain light. A church that has transparent walls allows the people on the outside to see in and provide accountability. This deals with issues of hypocrisy that arise when the church hides behind their religion, to conceal their corruption or to justify the things they do. Also a church without walls keeps those inside the church aware of what is happening outside. Sometimes those inside religion become unaware of the reality that is happening outside them.
My art practice is an exploration of the nature of opposites as contradictions that occur at the same time. The cathedral is a structure that inherently contains these binary oppositions; it is solid yet ethereal, it has the ability to speak of the abstract concepts of light and transparency, but also of darkness and solidity. It is through a gothic framework that I can place this contradiction. The gothic as a genre, appeals to the mysterious and what is unknown; it is a fine balance of oppositions. It shows ‘the ugliness’ and ‘the beauty’ of things that appeal to the irrational. It has the ability to go against logic, which is exactly what the realm of the spiritual is. It deals with the liminal, the place that is between what is physical and what is spiritual. The seen and unseen.
A Glimpse of the making of the Cathedra
This was a year long project starting with concept and architectural drawings. Deciding on the final shape and detail designs. Making a scale model. Making a full scale section of the Cathedra to check that height and style and concept worked well.
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The actual fabrication of the Cathedra used 2 Tons of steel rod, the majority being 8mm. It took 1500 hours of rolling and bending, welding and grinding over a span of about4 months. Cathedra Domine was installed in November 2006 at the Dunedin School of Art for the Graduation Exhibition SITE. It remained installed for 14 months.
Cathedra Domine - a wildRose wedding
8m x 6m x 5m high
Steel rod and tube
2006
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November 2008
The wedding of Rosy Harray to Tim Petterson at the Mosgiel Tahuna Pavilion in the Cathedra Domine in a warehouse.
Commission
If you have any requirements or ideas for a commission, for a sculpture or a piece of art for your home or work place please don't hesitate to contact wildRose