ROCKS I
PEOPLE IN GLASS HOUSES SHOULDN'T THROW STONES: The Destructive Nature of the Creative Cycle
An installation at Penthouse Mouse 13 as part of the official LMFF program, with 3D printing in collaboration with Steven Phillips
17-23 Wills St / 9.3.13 -15.3.13
Personal frustrations relating to creative practice form the conceptual basis of these outcomes. A rock can represent inactivity. Without intervention it is heavy, still and quiet, but with force, it can be powerful, purposeful and destructive. This could serve as a metaphor for the highs and lows of the practitioner before, during and after work; the restlessness experienced before pressure and motivation take hold, the ensuing overdrive, the counter productivity of harsh self-criticism and the inevitable crash.
Photography by Albert Comper (top) and Elliott Lauren (bottom)
Rocks provide literal inspiration for the forms of the heels; 3D modeled and printed by Steven Phillips and cast from resin. This recreation sees natural motifs re-appropriated in a vastly less natural, fabricated context.
Photography by Steven Phillips
An installation at Penthouse Mouse 13 as part of the official LMFF program, with 3D printing in collaboration with Steven Phillips
17-23 Wills St / 9.3.13 -15.3.13
Personal frustrations relating to creative practice form the conceptual basis of these outcomes. A rock can represent inactivity. Without intervention it is heavy, still and quiet, but with force, it can be powerful, purposeful and destructive. This could serve as a metaphor for the highs and lows of the practitioner before, during and after work; the restlessness experienced before pressure and motivation take hold, the ensuing overdrive, the counter productivity of harsh self-criticism and the inevitable crash.
Photography by Albert Comper (top) and Elliott Lauren (bottom)
Rocks provide literal inspiration for the forms of the heels; 3D modeled and printed by Steven Phillips and cast from resin. This recreation sees natural motifs re-appropriated in a vastly less natural, fabricated context.
Photography by Steven Phillips
