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A
'dead' circuit board can still transfer information and power and
it is interesting to me that an electric soldering iron is also
my 'paintbrush'. So the whole process makes sense, not just the
result. I can create information highways actually on top of information
highways.
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antiquated circuit boards and mother boards (which are in almost every
technical device today) interest me because they became canvases loaded
with connotations of power, light and information. I am intrigued
thinking about what information had once passed through these objects?
(What information is still there?) Either way, the object comes clad
in its history, and sits in its own metaphorical world, but by removing
it from one environment and placing it in another, one underscores
how fluid, how provisional, those meanings are. |
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'scrapscape'TM
suits my attempt at the "objective view" and plays with
the notion of the malleable computer environment. I've discovered
even the most minute scrap off the studio floor can fit into a piece
and have significance, and at this scale nothing need go to waste,
and waste can create something better. |
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Mutual
admiration and a similarity in ideas, interests, aesthetics and process
led Janis Wassend and myself down this long serendipitous path to
this collaboration. Our mutual passion for rusted metal gave us a
common language. So here we are..."conversing in steel."
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objects are chosen crow-like from a huge reservoir of material from
dumpsters, landfillsites
or the blue box. I closely identify with the materials I choose. Discarded
objects, paint and experience recreate the ideas that come into my
head. |
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work has been influenced by my personal experiences and the enormous
amount of varied employment that I have had to do to sustain my life
and art career. This labour has been a direct link to the material
and concepts of my work. I have always had an instinctive disdain
for waste and as a result I mostly use the flotsam and jetsam of industry
as the materials I work with. |
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work during the last ten years has been divided between two and three
dimensions simply for the pleasure of working in both processes. I
think my work is conceptually pragmatic in that the artistic process,
and colours (when used), explain the ideas. I want the method, memory
and materials to connect with the sentiment of the work. |
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I'm
interested in transforming something into something better. The
materials I use are usually waste objects deemed obsolete by society's
standards which motivates my need to create, and create less clutter.
I feel by transforming the "garbage" into workable pieces,
I've not only recycled the object but also its' meaning. It also
satisfies me to think I have slowed the process of creating waste
down, if only symbolically, yet still allows me to make very personal
statements.
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Copyright Peter McFarlane. All rights reserved. |
