Taking ideas surrounding Cy Twombly’s sculptural works as my starting point, I wanted to open a conversation about how photography is in itself an assemblage in which light, chemistry, subject matter, physical materiality and variations in presentation create a union that forms a whole.
Twombly’s sculptures were comprised of found objects fused together and then typically draped in white paint referencing both classical marble sculpture as well as time itself through the movement and eventual stagnation of the painted façade. Instead of paint, glue and artificial resin I have used the photographic medium as a means to mesh disparate objects whilst also granting them relativity in time.
In discussing this idea of assembled matter coming together to form a whole in regards to photography I inevitably began to explore the materiality of the photographs produced as well as other variables of form the work could take. Singular perspective and denied visual access permeates ‘Assemblage’, observing the presentation of sculpture via photography.
Parallel to the influence of Twombly was the sculptural practice of my Grandfather. The works included here at Serchia Gallery were produced whilst staying with my Grandparents during the lockdown of 2020 and despite working with limited resources I was granted the opportunity to reconnect with the fascination I have for my Grandfather’s works.
Also using found materials, I grew up looking at his works long before I was aware of Twombly. Beautiful, intelligent and at times humorous my Grandfather’s sculptures interweave artistic play and art history effortlessly. As a result of my Grandfather’s impact, place became more relevant than merely a location of production.
‘Assemblage’ became both time and place specific whilst also discussing broader themes of assemblage and the dialogue between photography and sculpture.
Twombly’s sculptures were comprised of found objects fused together and then typically draped in white paint referencing both classical marble sculpture as well as time itself through the movement and eventual stagnation of the painted façade. Instead of paint, glue and artificial resin I have used the photographic medium as a means to mesh disparate objects whilst also granting them relativity in time.
In discussing this idea of assembled matter coming together to form a whole in regards to photography I inevitably began to explore the materiality of the photographs produced as well as other variables of form the work could take. Singular perspective and denied visual access permeates ‘Assemblage’, observing the presentation of sculpture via photography.
Parallel to the influence of Twombly was the sculptural practice of my Grandfather. The works included here at Serchia Gallery were produced whilst staying with my Grandparents during the lockdown of 2020 and despite working with limited resources I was granted the opportunity to reconnect with the fascination I have for my Grandfather’s works.
Also using found materials, I grew up looking at his works long before I was aware of Twombly. Beautiful, intelligent and at times humorous my Grandfather’s sculptures interweave artistic play and art history effortlessly. As a result of my Grandfather’s impact, place became more relevant than merely a location of production.
‘Assemblage’ became both time and place specific whilst also discussing broader themes of assemblage and the dialogue between photography and sculpture.
Installation images of 'Assemblage' as exhibited at Serchia Gallery, Bristol.
