I have begun to create oil rig type structures or ‘platforms’, exploring the idea that they could become redundant in the future, and also an awe of their intricate structure. They are colossal and most are decommissioned. However some are for sale:
“Well-maintained 20-room platform for sale. Panoramic sea views and a Heli deck.”
“If it is not purchased, the North Sea drilling platform will have to be decommissioned and disassembled by the current owners.”
This really interests me, and I have begun to create kinetic models using low-fi materials. Combined with the low-fi materials are also bronzes, and fine porcelain with gold lustres and gilded elements. It creates a juxtaposition between the materials.
INSTALLATION VIEW of “CONSUMERIST CULTURE” by
APPLIED IMAGINATION, 111 GREAT TITCHFIELD STREET
Cheryl Papasian and Alex Wood, (collaboratively known as Papasian Wood) have exhibited together for several shows including Lots of Lollys in Delfina Gallery for the 2012 Bermondsey Street Festival. In this exhibition, Papasian Wood collaborate by creating a piece titled Consumerist Culture involving a rock climbing wall and colourful ceramic plinths. It incorporates bright lights and glossy surfaces that reflect the slick façade of contemporary society.
“LOTS OF LOLLYS” by Papasian Wood
Delfina Gallery Private View,
Bermondsey Street Festival
Saturday 22 September
Alex Wood and Cheryl Papasian present a collaborative artwork entitled “Lots of Lollys”, involving 8000 lolly sticks, factory lighting, and wooden candy floss canes. The result, a cage like structure that the viewer can enter and explore, and interact with.
Installation Photographs of my PG Dip ‘Final Final’ Show at Chelsea
Bronze Sculptures, featured in ‘Plinth Towers’
Pg Dip Final Final Show, Chelsea College of Art, London. July 2012.
Alex Wood’s plinths, tower above the viewer creating a sense of jeopardy and instability. The feeling of precariousness that the sculptures create is heightened by the imminent threat of collapse. Exploring the relationships of monumentality and the un-monumental.
Alex combines low-fi materials which include timber, wax, ceramic and discarded debris in his sculptures. Towering buildings and architecture can appear to teeter on the brink. Alex pushes this feeling of precariousness to it’s limit with his sculptures.