These are our Top 100 submissions of artists for the Universal Sea – pure or plastic?!
62
Bottle River
1907
Title:
Bottle River
Bottle River
Author:
Stephen Wilks
Stephen Wilks
Description:
The mass of vessels will ebb and flow through the building and interact with the specific architecture of the museum space , a river a cortege... an exodus. Each bottle is cast fired and glazed individually so every single piece in the mass is unique. The bottles will suggest human forms in an abstract way especially with the contortions of some of the forms. Which evoke huddled or bent figures. The monumental mass should evoke many associations and levels of interpretation in the publics mind,…rivers … ...a tide of humanity ( exodus) …and the contradiction arising from the beauty of the ceramic pieces ( ming vases) and the ubiquitous disposable plastic water bottles.... consumption , and inevitably pollution and the fragility of our ecosystems (currently in peril) The ancientand durable technique of ceramics is juxtaposed with the ubiquitous (throw away) contemporary plastic forms both of which are inherent aspects of most cultures and will be readily identifiably to most viewers in some way. The work raises many questions and should be felt as both imposing (overwhelming ) on a broad view but on close inspection the fine glazes are distinctly fragile and breakable. The tide of ceramics will represent a FLOW…a flow of life with associations to power and presence on a monumental scale however the fragility of the individual ceramics and intricate details of the craquelee glazing will inspire other ideas and perceptions for the viewer ; Who will be confronted by the monumental aspect but equally drawn into the fine intricate patterns of each unique vessel. The macro and micro …the individual and the mass … the big picture and the the detail..In itself, a plastic bottle is not an object to which people attach value. The bottle is emptied and discarded. The epitome of consumption. But what if the texture of this bottle changes? What if the bottle is made of a fragile material such as ceramics? Instantaneously, the meaning and value of the bottle transforms The work should have a strong resonance with ecological themes ,I would like to evoke the balance (a fragile one) that exists between nature (water) humanity and our enviroment. Recent flooding through europe, the perils of pollution and squandering of natural resources and the flux of humanity often forced upon refugees across the globe will have parellels in the work. The piece will be a celebration too The beauty and mass of forms will meander through the museum a giant river swelling and flowing through the building with parrelels to the spiritual notion of Binah and the tree of life (river / understanding the flow from the garden of Eden. The individual and the mass….. In itself, a plastic bottle is not an object to which people attach value. The bottle is emptied and discarded. The epitome of consumption.
The mass of vessels will ebb and flow through the building and interact with the specific architecture of the museum space , a river a cortege... an exodus. Each bottle is cast fired and glazed individually so every single piece in the mass is unique. The bottles will suggest human forms in an abstract way especially with the contortions of some of the forms. Which evoke huddled or bent figures. The monumental mass should evoke many associations and levels of interpretation in the publics mind,…rivers … ...a tide of humanity ( exodus) …and the contradiction arising from the beauty of the ceramic pieces ( ming vases) and the ubiquitous disposable plastic water bottles.... consumption , and inevitably pollution and the fragility of our ecosystems (currently in peril) The ancientand durable technique of ceramics is juxtaposed with the ubiquitous (throw away) contemporary plastic forms both of which are inherent aspects of most cultures and will be readily identifiably to most viewers in some way. The work raises many questions and should be felt as both imposing (overwhelming ) on a broad view but on close inspection the fine glazes are distinctly fragile and breakable. The tide of ceramics will represent a FLOW…a flow of life with associations to power and presence on a monumental scale however the fragility of the individual ceramics and intricate details of the craquelee glazing will inspire other ideas and perceptions for the viewer ; Who will be confronted by the monumental aspect but equally drawn into the fine intricate patterns of each unique vessel. The macro and micro …the individual and the mass … the big picture and the the detail..In itself, a plastic bottle is not an object to which people attach value. The bottle is emptied and discarded. The epitome of consumption. But what if the texture of this bottle changes? What if the bottle is made of a fragile material such as ceramics? Instantaneously, the meaning and value of the bottle transforms The work should have a strong resonance with ecological themes ,I would like to evoke the balance (a fragile one) that exists between nature (water) humanity and our enviroment. Recent flooding through europe, the perils of pollution and squandering of natural resources and the flux of humanity often forced upon refugees across the globe will have parellels in the work. The piece will be a celebration too The beauty and mass of forms will meander through the museum a giant river swelling and flowing through the building with parrelels to the spiritual notion of Binah and the tree of life (river / understanding the flow from the garden of Eden. The individual and the mass….. In itself, a plastic bottle is not an object to which people attach value. The bottle is emptied and discarded. The epitome of consumption.
Description:
The mass of vessels will ebb and flow through the building and interact with the specific architecture of the museum space , a river a cortege... an exodus. Each bottle is cast fired and glazed individually so every single piece in the mass is unique. The bottles will suggest human forms in an abstract way especially with the contortions of some of the forms. Which evoke huddled or bent figures. The monumental mass should evoke many associations and levels of interpretation in the publics mind,…rivers … ...a tide of humanity ( exodus) …and the contradiction arising from the beauty of the ceramic pieces ( ming vases) and the ubiquitous disposable plastic water bottles.... consumption , and inevitably pollution and the fragility of our ecosystems (currently in peril) The ancientand durable technique of ceramics is juxtaposed with the ubiquitous (throw away) contemporary plastic forms both of which are inherent aspects of most cultures and will be readily identifiably to most viewers in some way. The work raises many questions and should be felt as both imposing (overwhelming ) on a broad view but on close inspection the fine glazes are distinctly fragile and breakable. The tide of ceramics will represent a FLOW…a flow of life with associations to power and presence on a monumental scale however the fragility of the individual ceramics and intricate details of the craquelee glazing will inspire other ideas and perceptions for the viewer ; Who will be confronted by the monumental aspect but equally drawn into the fine intricate patterns of each unique vessel. The macro and micro …the individual and the mass … the big picture and the the detail..In itself, a plastic bottle is not an object to which people attach value. The bottle is emptied and discarded. The epitome of consumption. But what if the texture of this bottle changes? What if the bottle is made of a fragile material such as ceramics? Instantaneously, the meaning and value of the bottle transforms The work should have a strong resonance with ecological themes ,I would like to evoke the balance (a fragile one) that exists between nature (water) humanity and our enviroment. Recent flooding through europe, the perils of pollution and squandering of natural resources and the flux of humanity often forced upon refugees across the globe will have parellels in the work. The piece will be a celebration too The beauty and mass of forms will meander through the museum a giant river swelling and flowing through the building with parrelels to the spiritual notion of Binah and the tree of life (river / understanding the flow from the garden of Eden. The individual and the mass….. In itself, a plastic bottle is not an object to which people attach value. The bottle is emptied and discarded. The epitome of consumption.
The mass of vessels will ebb and flow through the building and interact with the specific architecture of the museum space , a river a cortege... an exodus. Each bottle is cast fired and glazed individually so every single piece in the mass is unique. The bottles will suggest human forms in an abstract way especially with the contortions of some of the forms. Which evoke huddled or bent figures. The monumental mass should evoke many associations and levels of interpretation in the publics mind,…rivers … ...a tide of humanity ( exodus) …and the contradiction arising from the beauty of the ceramic pieces ( ming vases) and the ubiquitous disposable plastic water bottles.... consumption , and inevitably pollution and the fragility of our ecosystems (currently in peril) The ancientand durable technique of ceramics is juxtaposed with the ubiquitous (throw away) contemporary plastic forms both of which are inherent aspects of most cultures and will be readily identifiably to most viewers in some way. The work raises many questions and should be felt as both imposing (overwhelming ) on a broad view but on close inspection the fine glazes are distinctly fragile and breakable. The tide of ceramics will represent a FLOW…a flow of life with associations to power and presence on a monumental scale however the fragility of the individual ceramics and intricate details of the craquelee glazing will inspire other ideas and perceptions for the viewer ; Who will be confronted by the monumental aspect but equally drawn into the fine intricate patterns of each unique vessel. The macro and micro …the individual and the mass … the big picture and the the detail..In itself, a plastic bottle is not an object to which people attach value. The bottle is emptied and discarded. The epitome of consumption. But what if the texture of this bottle changes? What if the bottle is made of a fragile material such as ceramics? Instantaneously, the meaning and value of the bottle transforms The work should have a strong resonance with ecological themes ,I would like to evoke the balance (a fragile one) that exists between nature (water) humanity and our enviroment. Recent flooding through europe, the perils of pollution and squandering of natural resources and the flux of humanity often forced upon refugees across the globe will have parellels in the work. The piece will be a celebration too The beauty and mass of forms will meander through the museum a giant river swelling and flowing through the building with parrelels to the spiritual notion of Binah and the tree of life (river / understanding the flow from the garden of Eden. The individual and the mass….. In itself, a plastic bottle is not an object to which people attach value. The bottle is emptied and discarded. The epitome of consumption.
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