Sculpture is an armature: it can be mounted, modulated, affixed, broken down into parts, recombined into new configurations. It is the hardware, like a skeleton, to give presence to effects. This process is transient, sensitive, time-based. To allow a sculpture a good life there must always be a latent element of this nod towards time. Not historical time or timeless time, but a festering time, a dripping time, pulsating, splashing, odorous. The most exciting moments for me in constructing works is allowing for this variable, something that will, can, and should change. This comes close to life, and maybe even intelligence.
Recently I have been visiting a bio-mimetic robot laboratory in Delft. I believe the way they think about bio-mimicry when constructing robots can provide a helpful guide for describing my own sculptural work. They break down the practice of bio- mimicry into three different categories: systems (eg. ecosystem), forms (eg. species) and processes (eg. photosynthesis). I find these categories to be a very helpful guide for considering my own practice and artistic production, especially when it comes to sculpture.