These are our Top 100 submissions of artists for the Universal Sea – pure or plastic?!
14
Clean Water
824
Title:
Clean Water
Clean Water
Author:
George Lorio
George Lorio
Description:
Clean Water (size: 5” x 12” x 12”) Painted carved wood, 2015 Painted carved wood, 2015 My chosen black surface for water carries with it an ambiguous, obscure or confusing reading. Its darkness suggests murkiness; therefore, is its depth shallow or deep or is its quality clean or polluted? The inference for water colored black can be described as powerful and frightening. Is it clean? In the sculpture, the carved surfaces are not renderings but fictions presenting the essentials of naturally occurring fluid forms. Personal Background I was born and raised, through my teenaged years, in New Orleans, Louisiana, USA. It framed my vision of life. It was and continues to be a place of extremes: beauty and decay, religion and ritual, custom and iconoclasm. From that experience, I acquired an excitement for visual matters: colors, forms and even artifacts. Having lived on the border with Mexico for ten years changed my view of contemporary culture and our collective social responsibility. As a result, the expression of my imagery has become more topical. Statement on the present direction I use a narrative of social engagement to generate discussion. My images subtly arouse concern with visual prods into issues related to class, immigration, gun control, and ecology. I use found toys which I incorporate in the making of a series of sculptures that poignantly comment on adult concerns in the guise of ironic constructions of found playthings. To me, toys are abstractions of grown-up possessions, professions, or spaces, which are to provide children role models. Collage and assemblage synthesize the imagery. I fabricated “Clean Water” from recycled wood from shelving.
Clean Water (size: 5” x 12” x 12”) Painted carved wood, 2015 Painted carved wood, 2015 My chosen black surface for water carries with it an ambiguous, obscure or confusing reading. Its darkness suggests murkiness; therefore, is its depth shallow or deep or is its quality clean or polluted? The inference for water colored black can be described as powerful and frightening. Is it clean? In the sculpture, the carved surfaces are not renderings but fictions presenting the essentials of naturally occurring fluid forms. Personal Background I was born and raised, through my teenaged years, in New Orleans, Louisiana, USA. It framed my vision of life. It was and continues to be a place of extremes: beauty and decay, religion and ritual, custom and iconoclasm. From that experience, I acquired an excitement for visual matters: colors, forms and even artifacts. Having lived on the border with Mexico for ten years changed my view of contemporary culture and our collective social responsibility. As a result, the expression of my imagery has become more topical. Statement on the present direction I use a narrative of social engagement to generate discussion. My images subtly arouse concern with visual prods into issues related to class, immigration, gun control, and ecology. I use found toys which I incorporate in the making of a series of sculptures that poignantly comment on adult concerns in the guise of ironic constructions of found playthings. To me, toys are abstractions of grown-up possessions, professions, or spaces, which are to provide children role models. Collage and assemblage synthesize the imagery. I fabricated “Clean Water” from recycled wood from shelving.
Description:
Clean Water (size: 5” x 12” x 12”) Painted carved wood, 2015 Painted carved wood, 2015 My chosen black surface for water carries with it an ambiguous, obscure or confusing reading. Its darkness suggests murkiness; therefore, is its depth shallow or deep or is its quality clean or polluted? The inference for water colored black can be described as powerful and frightening. Is it clean? In the sculpture, the carved surfaces are not renderings but fictions presenting the essentials of naturally occurring fluid forms. Personal Background I was born and raised, through my teenaged years, in New Orleans, Louisiana, USA. It framed my vision of life. It was and continues to be a place of extremes: beauty and decay, religion and ritual, custom and iconoclasm. From that experience, I acquired an excitement for visual matters: colors, forms and even artifacts. Having lived on the border with Mexico for ten years changed my view of contemporary culture and our collective social responsibility. As a result, the expression of my imagery has become more topical. Statement on the present direction I use a narrative of social engagement to generate discussion. My images subtly arouse concern with visual prods into issues related to class, immigration, gun control, and ecology. I use found toys which I incorporate in the making of a series of sculptures that poignantly comment on adult concerns in the guise of ironic constructions of found playthings. To me, toys are abstractions of grown-up possessions, professions, or spaces, which are to provide children role models. Collage and assemblage synthesize the imagery. I fabricated “Clean Water” from recycled wood from shelving.
Clean Water (size: 5” x 12” x 12”) Painted carved wood, 2015 Painted carved wood, 2015 My chosen black surface for water carries with it an ambiguous, obscure or confusing reading. Its darkness suggests murkiness; therefore, is its depth shallow or deep or is its quality clean or polluted? The inference for water colored black can be described as powerful and frightening. Is it clean? In the sculpture, the carved surfaces are not renderings but fictions presenting the essentials of naturally occurring fluid forms. Personal Background I was born and raised, through my teenaged years, in New Orleans, Louisiana, USA. It framed my vision of life. It was and continues to be a place of extremes: beauty and decay, religion and ritual, custom and iconoclasm. From that experience, I acquired an excitement for visual matters: colors, forms and even artifacts. Having lived on the border with Mexico for ten years changed my view of contemporary culture and our collective social responsibility. As a result, the expression of my imagery has become more topical. Statement on the present direction I use a narrative of social engagement to generate discussion. My images subtly arouse concern with visual prods into issues related to class, immigration, gun control, and ecology. I use found toys which I incorporate in the making of a series of sculptures that poignantly comment on adult concerns in the guise of ironic constructions of found playthings. To me, toys are abstractions of grown-up possessions, professions, or spaces, which are to provide children role models. Collage and assemblage synthesize the imagery. I fabricated “Clean Water” from recycled wood from shelving.
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