The interesting thing about Abstract Heads is that they abstract the essence of a person from their face. It´s not about expression, impression, construction, poverty, dadactics, cubes, or anything else. And it´s certainly not about now. It is about creating an immortal image.
Einstein was 26 when he posited relativity (it´s not about relationships). But his immortal image is from when he was an older man. It was all relatively downhill for him. My images cut through age, specificity, the known, to create an unknown. Making the known, unknown. They are not about death, which is specific and very well known. It is not about the afterlife, as there is none. It is simply about immortality. These paintings and sculptures are monuments to memory. Timeless and out of time.
Monuments are obvious. A cross, a gravestone, a Nelson´s column. Monuments are memories of people or events. I want to create memories of monuments.
So how is this expressed in my art? Well, for one, no one can recognise themselves from their Abstract Head triptych. It is, and it is not them, at the same time. It is their personal Schrödinger's cat. The arrangement of the triptych is not important, and can be vertical, horizontal or diagonal (like your own personal ducks on a wall). As long as the viewer is moving and moved, I am content.
Making a rough cyclopean wall from the planes of an Abstract Head creates an unstable structure. Infill could be used, but would spoilt the aesthetic. Many thousands of other permutations are possible with the same dozen or so pieces, but one that I will be exploring a little more is the "natural graveyard". In this way, each piece of the monument takes on its own life, memorialising a separate part of the whole life. "Letting the whole world in."
