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Externally Inwards

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My body of work is a series of fibre sculptures that explore the mind's transition as it progresses through imprisonment to freedom. By using horse hair and bones unearthed from my Granddad's farm, I create forms inspired by nature's armour that resonate ideas of metamorphosis.
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  • ExternallyInwards

    is a series of constructed fibre forms thatexplores the physical representation of the hidden mind and explores the transitionof the mind as it progresses from a state of imprisonment to freedom. My sculpturesare autobiographical, and reflect my transition from childhood to adulthood. Thejourney starts with forms that represent the psychological armour we create forourselves. However the armour can turn into our own prison by oppressing andsubjugating our freedom and self-expression, inhibiting us from reaching ourfull potential. The series reflects struggle towards the potential of freedom,and change. Forms develop into the mind’s open paths wandering into the world

    As a child growing up attending a CatholicChurch and school I found religious rituals comforting because they providedboundaries for behaviour. As I matured I began to question the ideals of thechurch. I found that they prevented me from developing my own opinion. I usethe loosening of the wovens structures in my work as a correlation to theopening of the mind and the struggle to break free. As the openness extends theunlimited mind can be seen to explore beyond the body.

    Materials are a vital part of my practice.In the Externally Inwards series Iuse horse bones unearthed from my Granddad’s farm and horsehair. Thesematerials are important as they relate to my childhood, where horse riding wasmy escape from the world. The bones represent the physical body, the vessel forthe mind. The horsehair illustrates the mind within these works. There is asizable contrast between the stark white of the bone and the formidable black hair;this highlights the difference between the mind and the body. I use basketrytechniques like coiling, twining and binding to allow the progression from tightstructures to looser ones. These techniques are labour intensive continuing theidea of a journey through each section holding its own obstacles. My sculpturesare symbolic of both internal and external armour found in nature. Forms suchas cocoons, carapace and exoskeletons are all involved in the process ofmetamorphosis. In metamorphosis the creature often has to struggle out of itscontainer to survive. 

    In a world built upon belonging, anindividual can be swallowed up and becomes unrecognizable from the mass. Ibelieve that individual identity is important; creativity is one way ofexpressing it. Art is my tool to communicate my identity and individuality. 


  • Skull 2012
    Horse hair, horse bones, linen thread, double-sidedtape, old cotton T-shirt, pillow stuffing.
    56 x 23 x 30 cm
  • Skull detail
  • Pelvis 2012
    Horse bones, horse hair, linen thread.
    50 x 23 x 30 cm    
  • Spine 2012
    Horse bones, horse hair, linen thread, fishing line.
    105 x 30 x 15 cm    
  • Spine detail
  • Encircle 2012
    Horse hair, linen thread, wire.
    Size variable    
  • Encircle detail
  • Rings 2012
    Horse hair, linen thread, wire
  • Rings detail
  • Waterfall 2012
    Horse hair, linen thread, wire.
    Size variable
  • Waterfall detail

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