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NUDE I 2010
68 x 43 x 9 cm
26.8 x 17 x 3.5”
JR: And I think that’s one of those things
that intrigued me about your work as well,
those beautiful layers within the piece. It’s
almost like skin, so beautiful, so delicate.
PB: It’s much layered. Like life. Like peoples
characters, peoples personalities. It’s very
layered. This is that specific glass you’re
talking about, that outdoor low-expansion
glass that naturally comes with many layers.
It’s transparent at points, translucent, and
all of a sudden it can turn opaque. There are
many shapes, almost like different stages,
which I find intriguing and very rewarding to
work with. So yes, in choosing the glass and
the technique, it’s always important because
it always adds to that which you are trying to
put across, that which you’re trying to express
in the sculpture.
JR: And the Transformation series, where
did that come from?
PB: It came out of the Inward Journey series
basically.
JR: Did you see it as kind of a progression
34 x 13 x 89 cm
8,7 x 14.4 x 17”
34 x 13 x 89 cm
8,7 x 14.4 x 17”
RELIEF 2009
69 x 65 x 10 cm
27.2 x 25.6 x 4”
WATER NYMPH I 2009
68 x 108 x 40 cm
26.8 x 42.6 x 15.8”
Working in figure,
to me, is allways
a huge challenge.
166
from that and in what way?
PB: I do, I see it as a natural progression
for me. When you look at the Inward
Journey, you see the transformation. The
transformation is there. And by being
aware of it you see transformation all
around you. It doesn’t matter if it’s the
transformation in nature or literature or
music. I love classical music and you see
how modern, contemporary classical music
has totally changed from what Mozart
did a few hundred years ago, it’s a very
interesting change in artistic expression. We,
as humans, are looking for new forms to
express ourselves. I see that as an important
transformation, as an evolution. It’s a little bit
like when you sit on a beach and look at the
waves, every wave is different and every wave
is unique and it will never come back, there
will always be a new wave, I think that’s
transformation, that’s what it’s about.
And I’m trying to show that in my work.
To me, I find that intriguing.
STANDING NUDE 2009
90 x 27 x 20 cm
35.4 x 10.6 x 8”
JR: Just those natural forms?
PB: The natural forms, you can look at them
as very superficial things but you can also
look at them as very deep expressions of soul.
JR: With the transformation, since it is kind
of more inward, what are the forms based
on, the actual geometry?
PB: To some extent they’re based on rhythm,
sometimes geometric forms, even though
they’re deformed or deforming in the process.
Even the waves, when I think about it now,
I often have waves in my work.
A lot of this stuff happens very intuitively.
JR: In the process of creating.
< ANGEL 2009
62 x 83 x 19 cm
24.4 x 32.7 x 7.5”
> NUDE II 2010
80 x 28 x 30 cm
31.6 x 11 x 8”
PB: In the process…
JR: and reacting…
PB: And also in the collaboration, I feel that
when I’m in my studio and I’m working; I’m
not an individual, I’m connected, I feel con-
nected, I feel almost like I’m channeling form
and expression. I work in a nontransparent
material, I make my models my sculptures
in nontransparent foam, then they’re trans-
formed into glass. It means in your thinking
in your process, you’re keeping in mind that
what you’re doing in the front, or in the back,
is going to influence each other. That exchan-
ge right there, I find extremely interesting,
very intriguing.
FEMININE FORM 2014
80 x 21 x 19 cm
31.6 x 8.3 x 7.5”