Joachim van den Hurk Formal rags 300cmx300cm thin aluminum blade
Three precious rags printed with Kyoto protocol blowing in the wind attached by a red life-line. An artists statement for the benefit of mankind’s environment.
Sculpture by the Sea, Bondi 2007 catalogue, p62
Daniel Clemmett ran out of wood 400cmx200cmx200cm car bonnet and undercarriages
Inspired to present ecological awareness concepts in my work. A story poignant to our modern ways, is that Easter Island and a cultural pursuit that contributed to the end of a civilization.
Sculpture by the Sea, Bondi 2007 catalogue, p54
For publication in 2008
From My Side: Being a Child is a photographic book showing some of what young children do best.
Children around the world are seen here in their homes, in public places, in child care settings, and in
the natural environment. The pictures invite the viewer to imagine what the children are experiencing and
thinking: the world from their side. Through recurring cycles of experience children come to understand
their world and find their place in it. There are six sections in the book.
Chard and Kogan, 2007
Simon asked me:
The same question can be applied to any art.
I see these sculptures as moments in a dance. Their forms emerge from within, to lead beyond ourselves.
I see art revealing personal expressive responses to aspects of the world that move us to creativity. It can happen to young children who have flaws and limitations one might think of as beyond those of adults in relation to artistic expression. Yet some of the most expressive creativity is evidenced in the work of young children in spite of the lack of experience they reveal.
Cover of the new book by Sylvia Chard and Yvonne Kogan
To be published in 2008
The picture on your new book cover shows a gesture of connection, between inner and exterior landscapes.
I like how the space around the body seems to express the space within, and how the eyes follow the reaching outwards of the whole body.
Movement analyst and therapist Peggy Hackett introduced me recently to the early developmental patterns of our movement:Firstly, movements stirred by breath; then by a core distal pattern, reaching from our core outwards through the arms, legs, head and tail; and then those working through the head and tail.
In this picture I can see the core distal pattern describe a connection between the inner and outer landscapes.
Is there more a sense of continuity between the landscapes when we are children?
Is it only as we grow older that we experience them as separate?
You ask: “Is there more a sense of continuity between the landscapes when we are children?”
W.B Yeats had an important idea about the innocence of childhood. As adults maybe our hopes and fears get in the way of pure sensory experience of the world around us.
W.B. Yeats (1865–1939). Responsibilities and Other Poems. 1916.
To a Child Dancing in the Wind
Dance there upon the shore;
What need have you to care
For wind or water’s roar?
And tumble out your hair
That the salt drops have wet;
Being young you have not known
The fool’s triumph, nor yet
Love lost as soon as won,
Nor the best labourer dead
And all the sheaves to bind.
What need have you to dread
The monstrous crying of the wind?