Sean Crawford

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Fight or Flight  -  Brief written for exhibition at Form Gallery October 2012

Fight    Sean Crawford

I think having an open brief around a phase and its relation to Christchurch gave me the opportunity to pull a number of ideas expressed on different tangents into one exhibition. While all the works share that computer driven graphic response (laser cut components or etching), it is trying to define that envelope of meaning that connects them.  Loosely speaking these sculptures continue a body of work that engages in the component reworking of an object.  Through its shift in module (cell) the meaning of the overall form is altered, creating new associations that the viewer can draw upon. With some of these it is taken further using a mixed media response to provide further layering of ideas. In the case of 'caught in the cross hares' it is that juxtaposition of taxidermy and steel weapons that adds to the heighten tensions of adversaries opposed. There are comparisons with our military deployments of obligation to become that third party of insignificance between global sparers.  Within these works exists those polar opposites that critique our existence in that faint glow of a nostalgic isolationism that moves helplessly against the tractor beam of globalisation. The piece 'Blissful' was taken from the austerity riots in Greece as a physical object (riot shield) and countered by that wallpaper like motif of domestic (bliss) kitsch NZ. It's that degree of separation, weather lamenting the move towards a fully armed police force as a Glock pistol made from an endangered alpine daisy, to the beer bottle paying homage to the six o'clock swill and a cold war that seemed worlds away.  It is that view of the self taking something of the past toward that other pole; it is that past reference that reminds us of who we are and even if the landscape itself changes around us - it shows us that it is never a still life (Wallflower, stag - from Margaret Stoddert's still life painting 'Wallflowers').