the sowing of the storm

In Sculpting in Time: Reflections on the Cinema, director Andrey Tarkovsky’s autobiography on on the art of cinematography, the author writes:

“The allotted function of art is not, as is often assumed, to put across ideas, to propagate thoughts, to serve as an example. The aim of art is to prepare a person for death, to plough and harrow his soul, rendering it capable of turning to good.”

I agree with this sentiment, and have sought to commemorate this belief that we both share into a sculptural work. The work conveys a precarious balance between two materials forced to harmoniously fuse together, thus creating a visual tension. A small steel pin is used to hold the bottom assembly into an integral piece, adding further precariousness to the structural base. The root-like forms and sinuous carving are inspired by shapes and patterns found in natural erosion patterns, cloud formations, and root systems. They exemplify patterns of energy dispersal that propagate in natural systems as manifested in roots, tree branchings, water rivulets, and rain droplets falling form clouds.

There is a chthonic dimension that dwells in the interior — of individuals, of beings — and is rooted to the ground, to matter, yet aspires to the skies, to the elation of freedom. If one indeed reaps what one sows, the morsels of labour that culminate to a lifetime, to a body of work, could then be regarded as means for redemptive salvation, for personal expiation. This work is a self-portrait of the artist.