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5/11/2005

Sense experience and form are very important aspects of my work.  While I usually begin with an idea or metaphor that relates to some part of my experience, my process is to vitalize an idea by reaching for concrete expressions of it which I can then organize into an expressive whole.  What I find most satisfying (and stressful) is to arrive at a new gestalt from within a great complexity.

The motive that led to my current drawings and paintings was a desire to create a kind of tapestry of human interconnections.  Rather than illustrate, I play with the transition between representation and non-representation. I begin with direct, minute, and fragmentary observations of the figure, recording in line whatever I find moving.   I purposely subvert symbolic recognition but seek to retain the tactile and the emotive.  When I arrange a collection of such fragments across a page, or a canvas, I look for ways to build them into an ordered composition.  As a method, it's an improvisational way of staying rooted on the ground while looking at the stars.

For sculpture, assemblage is my method of choice.  I play the symbolic potential of everyday objects (I like to use what is at hand) against the concrete qualities of materials they are made of.  I follow the thread of an idea wherever it takes me.  To work in this manner is like finding my way through the woods.  At some point I come to a clearing, and it all makes sense.  I have combined light bulbs, granite slabs, walnuts, hay, steel, and recorded sound in a single work.  I think of sculpture as object poetry.

 

 

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These works are from 2005 and 2006. Some were shown in December at Gallery 121 in Boston.

"Candy" was shown at the Boston Museum School, April 2006

click on an image to see it's page

 

 

hay alter

 

blocks

 

baked platoon

 

balls to the wall

 

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foreign policy

 

phalanx

 

light support

 

brush

 

foot

 

tube

 

candy

 

 

 

 

 

 

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