Art is a device for understanding our existence; it gives us the mechanisms to help us understand and see further into the various worlds we humans create. It is a way of restructuring our reality, allowing us to investigate the inner elements in order to see beyond our immediate experience. Each work answers the mind quietly as we carefully explore the way forms follow meaning, and relate to our experiences. We open the door to review our own consciousness and listen to new ideas with our eyes. Receiving these ideas breaks the constraints of language, allowing for the interpretation to be solely with the viewer’s perception of what they see. In my series “One Of Many” I have employed two very different and opposing theories in sculpture, static geometric forms and quick organic movement, and hopefully have created a new path between them for the viewer. 

I have long admired the artwork and theories of minimalist sculptors Donald Judd, Carl Andre, and Sol LeWitt. Judd and other minimalists created sculptures in which the physical properties of space, scale and materials were developed as entities with their own meanings gathered from their visual properties, rather than as a stand in for human experience. “A shape, a volume, a color, a surface is something itself,” Judd wrote. “It shouldn’t be concealed as part of a fairly different whole.” (New York Times, 1964) I am fascinated by these minimalists of the 1960s and 70s, especially those who managed to reduce their work down to one simple unit repeated along a line of movement while still managing to create a strong dynamic emphasis in their work. 

I am also interested in the organic work of Olga-Ziemska, who uses hundreds of natural pieces to create a narrative form through thought and action. The idea that a form is a thing unto itself is intriguing to me and expands the human perception of such forms beyond just surface and material. Another artist that has influenced my work is Bruce Beasley for his use of repetition. His repeating of varying parts is used to create large stable forms. His work is centered around the weight of the structure itself, where as I use repetition of like units to emphasize opposing movements. Beasley also uses multiple forms connected in order to create visual illusions of natural formations. I am struck by the multiple levels of appreciation; for the individual components, for the larger form created by these components, and for the seamless use of these parts to create the whole. All of these artists have given me inspiration in creating this series. I want to combine the minimalist idea of reduction of form with the expanding powers of organic expression through repeating solid geometry. In this series of large-scale sculptural works I want to express the interaction of these two theories in creating a visual presence, by using reductive parts to create a dynamic, organic expansive whole.

I use computer 3D modeling software to design the work and then fabricate the forms from industry standard lumber. I want to maintain the precision that is inherent in the computer software and a part of minimalist theory. Creating pieces through the 3D modeling program first allows me to view the sculptures exactly as they will be, as objects with depth and substance, and to make any necessary changes smoothly and efficiently. Having the ability to freely move each individual piece in the modeling program allows me to view precisely the image of sculpture I have imagined. Visualizing the sculpture three-dimensionality from all viewpoints is essential. The works are meant to show movement from all sides and angles. Every singular unit that is placed changes the appearance of the whole from each side, each of which is equally important and unique. The technology allows me to fully explore the works potential before construction. 

Although the individual shapes are made by hand, I work toward a uniformity and precision of shape, thus emphasizing, through contrast, the organic line of movement. The individual elements of these sculptures are constructed with a mechanical exactness; they are as close to identical as possible, and so can be interchanged. Though the parts are geometric and follow a common pattern, the expression of these parts is highly complex and organic. The “statement” then comes from the chosen arrangement of these individual parts into an organic line of movement. In terms of size and finish, the shapes themselves appear exactly the same. The creation of the shapes in this way makes for a sculpture made up of unit forms; each unit is the same but the complex structures themselves are arranged according to the movement required for a sense of upward flight or downward collapse. I like opposing the flow of the movement as it creates a sense of tension and dynamic emphasis to the whole structure. Many of the minimalist artists that I have referenced as inspiration also use unit forms but most often in larger structures that emphasize the play of weight on gravity. Unit structure depends on the forms being placed in a geometric pattern in order to create dynamic tension. In my series the forms depend upon the repetition of strong symmetrical geometric units organized along a complex spline. These works create unique visual expressions inherent in their opposition to the solid geometry of the unit along with their opposing paths. The dynamics of the line creates emphasis in these eruptions of vertical movement that deny the weight and stillness of the singular forms. The idea of making something so large out of singular units and then creating an organic movement pulls the viewer along the path and the opposing sensations as they walk around or under the work. I create the forms to feel impossible in some way, whether that is by having two splines that move the forms in opposite directions as in my piece “Orange Heat” or in making a form that appears to be unbalanced as in the piece “White Emergence.” 

The appearance of unbalance is difficult to achieve because it is important to have the structure be physically centered in order to stand, and yet having a support system would take away the illusion of defying gravity in the work. I use a single strong color to unify the work and emphasize the underlying tension of the opposing movements. The color must connect with the individual sculpture and must be applied the same to each of the unit forms. The color being bright and high gloss makes for an animated appearance. My hope is that the dynamics of the unit, its color, and directional play will become more compelling, forming its own meaning as I increase the scale in relation to the size of a human being. 

Sculpture is about the human experience with solid matter in space, our response to actual weight, color, detail, line of sight, shapes and forms. Interacting with a 3D form is different from interacting with a 2D work. In 3D work, not all sides are in view at the same time or moment. So, as the viewer engages the work by moving around it, each side must compel the viewer toward a variation of the statement or intent of the work. It must compel a physical response from the viewer of the power of the form. Most importantly, it should make the viewer aware of his or her own physical presence in relationship to the work and to the environment in which the work resides. It is a real physical sensation, not just imagination at work. The form should provoke a response from the viewer beyond the intent of the artist as it merges the artist’s intention with the viewer’s own experiences in the hope of expanding the visual dialogue. In this series I offer the viewer an exploration of my ideas. 

“Cold Blue” has some forms interlocked appearing stable and some placed on one another looking precarious. This form appears playful due to its quick movement and cool color.

“Orange Heat” is composed of two splines that move in opposing directions. The lower portion gives a feeling of falling and the top portion rises from it. This makes for a space between that is at once collapsing and rising.

“Hot Pink” gives a feeling of spiraling upward from below, hinting at a larger structure below that is unknown to the viewer. This leaves the complete form to the interpretation and imagination of each individual viewer.

“Bold Red” stands rigid as you rotate around the form. This becomes puzzling because the reversal of the center of the form makes it appear to collapse in onto itself.

“White Emergence” rises from the ground upward in a dramatic movement. The form creates the illusion of being impossibly balanced. 

This series of works leads the viewer to investigate each aspect of the forms and respond to their impossibilities. The time taken to experience these works gives a deeper interaction. It is hoped that this interaction opens a dialogue in the viewer’s mind regarding their relationship to form color and space.

More images of these works can be found at http://southwestern.edu/morris

Read More Thesis Projects >