“It’s hard to find new words for an art practice that hasn’t distinctively changed nor yet should- at each turn I continue to learn and be inspired. The spirit and intent in which these works were created is the same and remain genuine, as is the core methodology to the works in the exhibition Quasi (in which my practice is discussed in detail). I continue to hijack by hand polyethylene from injection blow moulding machines that mass produced single use plastics to craft monochromatic abstractions. Then under a cloak of ebony charcoal tediously painted, conceal the inherent “sins” of the synthetic.
Yet when at the factory in a space that is orderly and rigorously controlled to manufacture the same outcome – experimentation is almost counter intuitive yet a demanded necessity of a studio. For Gamut this came in new interplays with compositional devices. Reducing line to its finest point yet closing a swathe of negative space. These forms become whispers of their predecessors, with the physical form becoming elusive, if not confused for the shadows that these forms usually make. For sculpture in its essence is dense, it inhibits space and exists to have presence. So can impact exist with reductive intent? Can forms of little mass assume big identities? These were some of the interests I had in making these works, as a process that constructs I cannot take away, only hide fault with flounces and curls much like the gilding of architraves and cornices that rectify a botched straight wall. There was an exacting confidence required for these pieces- the mark needed to be hit immediately- no edits in a process entirely organic dictated by the fragility of the human hand.” – Eloise Cato
