Sculpture including. The crows court installation.
BIENNIAL OF CONTEMPORY ART
CORVUS CURAEI Nov 3rd- 9th 2008.
La Casa de Brujas, Duke St. Liverpool
I want my sculptures to have been ‘eroded’ naturally,
I often use the rock formations especially volcanic rock of the
British Isles as a starting point; Recent trips to the island
of Staffa on the West Coast of Scotland and the
more famous Giants Causeway of Northern Ireland
are recent inspirations. My involvement with the art extends to
the casting of the sculptures, the meaning of the art is revealed
by their symbolic placement. The integration of an ‘Artists
Language’, into my work led me to that which I consider
as, ‘original’ art.
’Original Art is eternal, the language
of our ancestors expresses something that lies deep within our
souls, our truest links to nature, a world lost, that we were
once a part of, and one that we forget at our peril.’
The influence of these birds on this 'original art' is deep and
widespread. Crows and Ravens were an integral part of Aboriginal,
Maori, Native American, Inuit
and Tibetan folklore and spiritual beliefs.
The works in the Corvus Curaei series especially represents how
our subconscious relationship with both our recent and evolutionary
memories determines how we see the present moment.
CURIAE was first show at the 2008 Liverpool Biennial,
it represents the power of individual thought and questions how
society judges its creative forces. The message of the work is
embodied by one of human kinds long standing evolutionary companions,
The anthropomorphic understandings of the Corvidae
include compelling, inventive and often sinister and brutal accounts.
Many of the retributive ideas about the corvidae converge at the
legend of the rook 'parliament' or its Scottish equivalent, the
'craa's court'. Occasionally a wayward individual is condemned
to death. The exercise involves a 'court-like' circle of the birds
with a central protagonist and the collective violence against
a 'victim'. Observers feel sure they have witnessed a trial and
execution of 'criminal' rooks.
At the centre of the CORVUS CURIAE circle is
the 'subject' represented by the fascinating champion corvid craftsman
The Caledonian Crow. This crow fashions a variety of spears and
hooks from vegetation to fish insects out of crevices, and in
the lab bends wire into hooks to raise otherwise unobtainable
food buckets. Some of its tools are highly stylised and are most
often made from the left hand edge, accomplished by 'right handed'
birds. 'Right handedness' means the right eye and left brain hemisphere
are specialised in non spatial sequential actions, implying a
complex, sequential motor task that benefits from efficient neural
programming, a neural control only equaled by gorillas, chimpanzees
The 'subject' in CORVUS CURIAE symbolises our creative journey.
It is not yet certain that the encroaching rooks have in mind
esteem castigation or worse.
As well as bringing the birds into the stately realms of a human
court room, the chess like chequered floor transforms
the subjects positioning (pleasingly rooks) into tactical maneuverings,
but its pattern adheres not to a strict theory but to a un-consistent
formulae more reminiscent of life’s.