While the tea is brewing, I'm tempted to get depressed because the little frieze of dancing figures that I've fixed in at the back of the main section of the Shrine is not showing up too well. Partly because the elm surface that faces you is aged and faded, which I like; and partly because no light gets round behind it to create a theatrical dynamic when it's against the wall, which is how it has to be. Or does it? I'm thinking that maybe next time I make one of these I could try using the frieze as a door, positioned in front, that you open and close to get at your sacred object or books or whatever you've got in there. That way the figures will get more habitually drawn into play, and will stand out better because of not being pressed up against the wall. I guess you have absolutely no idea what I'm talking about - no image of this work available as yet - but you can see what I mean by these figurative friezes by clicking onto the website and sort of cruising around in there, like have a look at the Shrines in the Functional Objects section; www.paulandersonart.co.uk
Either way, I wanted to share with you the great sense of possibility that this small but irritating impasse has opened up. Still excited after all these years. By the simplest of things.
Now for tea, a blend of Clipper Everyday Organic, looseleaf Assam, and looseleaf Earl Grey. Obviously.
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- About My Work
- My home and studio for the past 20 years have been based in Hartland on the wild Atlantic North Devon coast, and, yes, I guess that and my love of discarded materials have been powerful influences: I use mostly relic oak from defunct barn roofs, boats, gates and fences to make elemental thrones, tables, daybeds and benches which, although they have an ancient, recently unearthed quality about them, work well in contemporary settings. The furniture is rugged, risky, energetic - functional but sculptural. The means of construction is usually very evident – maybe that keeps the work visceral and emphatically unglib. Most of my output is commissioned – I enjoy that process: it’s rewarding, exciting, and stretches me creatively. A number of influential garden designers and stylists have asked me to make large pieces for specific projects both here and abroad. And The Eden Project has commissioned three large sculptures and a throne which have all become familiar landmarks. I make small whimsical objects too: fruit dishes, cheeseboards, “shrines”, and naïve figurative sculptures incorporating bits of profound or querky text.
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