On occasion I change mediums, and this sculpture is the fourth one I've made that is primarily a model construction. I've always loved looking at models, whether they are of cities, stage sets or doll's houses. In a sense, it's like viewing life in miniature.
At first I was a little apprehensive at calling it sculpture, the reason being that I've always considered sculpture as a carving or a casting from a clay model. But so much Modernist and contemporary sculpture is a construction, but on a massive scale, this one is simply the same thing on a small scale. I've included some examples of the work in progress. The hardest thing to do was the camera, and it took days to figure out how to bring the three legs together and keep the perpendicularl centre pole in a vertical position. I ended up making a miniature scaffolding that held the pole in the right position then angled the legs carefully to join them all up.
Most small models are about what the eye sees, by that I mean they tell you what a real stage set will look like, or the type of dwelling a small doll would inhabit, or the look of a town that once existed, but what I'm aiming for is to make something that suggests what isn't present.
The title is about the way memories can be so important, something we need to capture and retain, but in time they begin to drift until they all fade.
The Drift of Memories, 2018, balsa wood, MDF, polymer clay,
40.5 x 28.5 x 23.75 cm (hxwxd)