Eloquence of Form

Inspired by the writing of David Bohm, this body of work seeks to realise the balance of form though a systematically measured process of repetition. Each element is a natural progression of the piece; hence creating a progressive pattern that can be continued by the imagination of the viewer.


Eloquence of Form

By Tabatha Gravener

This body of work takes its main inspiration from the physicist and theorist David Bohm. Through his collection of essays entitled ‘On Creativity’, Bohm considers what creativity is and how it may be best cultivated to assist the sciences in the creation of a holistic worldview. This investigation considers the parallels between the artist’s and the scientist’s modes of inquiry, and how these may become mutually beneficial.

In this art of life as a whole we have to be both creative artists and skilled artisans. We are thus always in the act of fitting an ever-changing reality so that there is no fixed or final goal to be attained. Rather, at each moment the end and the means are both to be described as the action of making every aspect fit.[1]

The primary mode of inquiry was derived from sketches of train tracks. These line drawings became sculptural forms by substituting wire for the pencil line and using paper as a sheet material. In later iterations I replaced paper with transparent sheet acrylic that served to emphasis the three-dimensionality of the object. This evolution of method involved development of process while striving to maintain the balance of materiality, through which the method of making the piece became as much a part of the work, for me, as the finished article. This development has created a workable system that proliferated an internal balance within the structure of the work.

The primary visual archetype of train tracks was used due to their association with movement and travel. The systematic and repetitive continuity of this structure also implies a natural progression of movement beyond the association of train travel, allowing the viewer to imagine the sculptures continued passage through space, nature and time.

The concept that an internal system of balance, created though a progressive process of iterations seeks to make the work feel ‘right’ to the viewer. By achieving this the work indirectly references many naturally occurring shapes. Protein molecules, DNA strands and storm patterns are a few shapes that may be indirectly implied by the form of these sculptures. However, it is important that these forms be used as a point of reference rather than as exact illustrations of any given aspect. This approach, therefore, aims to leave enough space within the work for the viewer’s own interpretation. This is achieved by the elemental sculptural nature of this work which allows its positioning in accordance to the physical parameters of an exact situation. These elements are left open, intimating to the viewer the works continued progression.

In summery, ‘Eloquence of Form’ seeks to appropriate a scientific methodology of thought though quantitative investigation. The aim of this inquiry is to create a structure and order within the works parameters. The result seeks to infer flow of movement within an internally balanced static sculptural form.

[1] David Bohm, On Creativity, ed. Lee Nichol (Padstow, Cornwall, United Kingdom: Routledge, 1996), p. 106.