Prehistoric sculpture was created by mankind as the strongest symbol of spirituality, a life affirming idea. It was a tool of understanding to first create an image of human likeness. This is itself gives the object a power (the stone of of the earth). It is the deepest rooted form of art, the most sublime, and, in understanding its identity, by far the most powerful; even after such great distances in time.
There exists an intrigue between the narrative and the disjunctive images, taking the sculpture out of its original context and placing it with my own image. It is a way to acknowledge the past art whilst also playing with the modern.
The use of my own image involved in many of the works underpins the weight and importance of those spiritual idols even more. It creates for me a sense of human spirituality which in seeking not to distort the idols, rather to immerse the two points in time in one another, building an emotional and spiritual presence and for me a close feeling of connection.
Within these relationships there is also the sense of humour, creating a more playful response to the weight of a whole culture. I find this engages me with the human aspects of the idols and echoes my own feelings towards them.
I have become more aware of the significance of brown, yellow and red. They are the colours of the first pigments, the colour of the earth. They too have a spiritual dimension and weight. To conceive the colours is to conceive something of the spirit of the time that ancient manmade artifacts had been created. Inherent within this is also the building blocks of an iconography which acknowledges ancient art.
margaret adams | nur balkir | marion curle | julian davies | helen evans | beverlee foulkes | joe hewlett | j.m.quinn Copywrite © 1997 mfa university of newcastle-upon-tyne