Edward Mortimer- Installation Artist- Personal Statement.
Generally speaking I am both craftsman and conceptual artist.
It’s great to create things that resemble everyday objects and situations, reconfiguring them into something altogether more surreal and hybridised. The true value of underlying creative forms, chains of thought, sequences running along may be concealed by superficial appearances, and worlds may open from within worlds.
Creative ideas and forms have to be constantly struggled for and redefined like an endless puzzle, so that some fine cycles of musing and making are to be had that can have benefits and creative nourishment for their initiator and those who share them. Some of these visions can appear sinister or comic, ugly, absurd, aesthetically pleasing or just unusual.
Perhaps all of this is purgative or cathartic of modern day demons, and offers a portal away from everyday inertia through asserting a positive individual identity, satirising horror and numbness and unlocking poetic, philosophical works. It’s difficult to make categorical statements about living creative flux.
My work is realised mostly with mixed materials. As well as the literalness of sculpture, I’ve a strong interest in the culture of the moving image. In recent times I’ve articulated my creative preoccupations through multi – sensory works, photography, sculpture, scriptwriting and artistic collaborations across media.
A recurrent theme is suburban reality or at least the one we recognise from common mythology as a starting point and territory. In this twilight world, human civilisation can often collapse, fray at the edges or lose it ’s identity. This kind of motif can be seen in my influences such as early David Lynch and Eraserhead and the pioneering sculptural installations of the Kienholzes.
The vehicle for this expression could manifest itself in crafting, construction, found material, or indeed an alternative character or performer. After all we live in a literally three dimensional world. This could be expanded into the illusory world of film, the aural world of composition, smell machines. I prefer not to torture living things and therefore like to articulate theatrical rubber chickens.
The way I progress through this territory uses webs of meaning, visual puns, connotation, references, collages of ideas, materials and scenarios.