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Driven by a sacred sense of duty, my art emerges from a primal need to transform dissonance into form... a defiant giggle in the face of what was meant to break me. My training was not in the hushed halls of academia, but in the crucible of harsh experience. I came from a place of intense difficulty, a past marked by misunderstanding and the sting of undeserved pain. This pain, this profound alienation, was not a wound to be healed, but a material to be sculpted. It is the very essence of my work.
I studied at art school in the late 80s, a time of artistic rebellion. But I found myself a misfit, a 'found object' in an unfamiliar landscape. My artistic sensibility was forged in the fire of being perceived as an outsider, a person of no trust. I was a blank canvas awaiting the transgressive act of creation... the moment the wound became the work.
My process is an act of alchemical rebellion. I take the discarded, the forgotten, the broken... scrap metal, strange materials, and the detritus of existence... and I imbue it with a new, sacred purpose. The materials themselves reveal their truth, unashamed and raw. The scars, the welds, the raw edges are not flaws; they are the story. My creations are not mere objects; they are a manifestation of the primeval giggle... a monument to the instinctual, the visceral, and the unconquerable spirit. They are born from a sacred duty to transmute suffering into a powerful, living form.
#FoundObjectArt #ScrapMetalSculpture #PrimalArt #CreativeAnarchy #ArtisticRebellion #NewArt #FrancesArmstrong #ArtOfDisobedience #InstinctualArt #Transhumanism #DarkArt #PostPsychology #HomingHyena #Sweetums #TimeTravel #Shapeshifting #LibidinousTransgression #ConceptualArt #PrimevalGiggle
Transcript
00:00What I'll do is wait a little while and then I've got to do the final work on the back legs
00:07but the legs are all pretty nice anyway. I don't want to do too much.
00:12It's kind of like that Bauhaus idea of showing the material underneath, not being shy to reveal
00:22the actual material that I had been using to get the results. I like that idea.
00:30It could be a bit old-fashioned, I don't know. I went to art school in the late 80s, heading to the early 90s.
00:42But I had a lot of trouble, an unbelievable amount, because my background was a little weird.
00:50I had a stigma in my background and consequently I didn't quite gel with the situation.
01:03Very unfamiliar to me, but also I wasn't perceived with any degree of trust or the expectation that I'd be the right sort of person
01:16to inhabit that environment. I was way, way back. And yeah, I was very, very shell-shocked. I've just come from another country.
01:28I've only been there two years. I didn't know what the, what the, what the hell, what the carnation had actually hit me.
01:36Anyway, I'm avoiding the Australian vernacular, because I don't know, some people might not prefer it.
01:42But I didn't know it. And so I came in for a lot of so-called slack. I came in for a lot of pain and difficulty,
01:54which actually I didn't deserve. But so it goes. Anyway, those eyes are coming along. I mean, they're a bit human eyes.
02:05I think that's what freaks people out. They look at the eyes and they're not really animal eyes. They're more human eyes.
02:13Oh no, what are you doing? What are you making? What horror? Anyway, so I had a lot of horror in my life.
02:24Hard to quantify, hard to qualify, hard to make sense of, but I had quite a bit, really. I really had quite a bit overall.
02:36And I guess some of my art could come from that place, I guess.
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