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Career challenges will be things that you begin to look forward to instead of things you dread and avoid. No longer will you undermine your success. The art revelations and insights will naturally bring success, where your own personal reflections and vision will clear obstacles & provide direction. You will most importantly remember to breathe as you have your own unique personal experience & insights and develop your central artistic concerns with the confidence you always wanted and somewhere know you always had.
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With the information and insights gained from this, you can now confidently stand on the threshold of becoming visible as an artist, developing your capacity for a successful rewarding professional career.
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Central concerns of my work now exemplify my commitment as an artist to express contemporary social and environmental concerns. At the same time, I’m sharing a positive message about beauty and the aesthetic experience. I am also offering examples of detritus re-cycle and re-use. I hope that this work encourages those who experience it to look at the environment in creative ways.
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I find it incredulous to think how many times I have bent over to pick up the many thousands of pieces of plastic debris that made up that aspect of my art, each piece jostled around for an unknown duration by sand, sun and ocean, their form altered, faded and rounded by the elements.
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It has led me to a deep sense of care and concern for our environment which is underpinned by an excitement of the creative possibilities of working with recycled materials and has had me over the years, offering to the viewing public original and unique works from my studio.
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The culmination of this maturation and the epiphanies around my work in the form of dramatic re-assessments in my aesthetic vision sent me later looking for driftwood on a shoreline in Victoria, which then directed me to this exciting new medium of found objects. It’s not necessary for all artists to have to experience such a dramatic incident as having a fire in a studio to bring about a major change in their outlook on life. Some artists instinctively do this in the process of their work in the studio. This is how it happened for me and it left an indelible imprint, which has continued to this day.
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A more complete list should also include American abstract expressionist Jackson Pollock and later Roy Lichtenstein and more recently Jeff Koons, Keith Haring and Jean-Michel Basquiat. I resonate particularly these days with Pat Stiers work, Lynda Benglis and Louise Bourgeois. I was influenced as well by the Australian artists Tony Tuckson, Brett Whiteley and Ian Fairweather, primarily due to the energy that their work conveys.
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Exposure to international art in London and Europe, in the early eighties, encouraged me to pursue my career as a full time artist. One defining moment was experienced at the Tate Gallery in London, nineteen eighty-one. In a gallery space devoted to Mark Rothko, the American abstract expressionist, I experienced the depth of and commitment in his work.
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This stylistic approach is best described as an offshoot of Surrealism. It was at this point that I visited the National Gallery of Victoria to see an exhibition of modern masters from Europe, which included Salvador Dali and other artists who I had never seen before. I was intending to write about this exhibition in my end of year exam.
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From those early days of making these wall based assemblages, the whole process orientation took shape which was to guide me through many twists and turns in my creativity, which had me exploring many mediums in the found object genre including sculpture, installation, public art, digital printing and a return to painting.
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If you feel like your artist statement or your web copy is not ever done – it isn’t. Writing is a process and very rarely a product. Text can always be reworked and improved. Set goals, but be reasonable. Be fair to yourself and ask for help along the way.
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The essay I wrote for the United Nations, The Future We Want is reproduced here with kind permission of the United Nations Organization, having first appeared on the UN website and the UN’s official social media outlets.
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I am enjoying my role as a mediator between nature and humans, expressing universal truths in my work and inspiring viewers as much as I am able.
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I’m passionate about the messages that the work conveys through the use of recycled material and I love without exception, the simple inspiration that it gives to people when they see this kind of work.
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Dahlsen, by comparison, is an optimist. To begin with, he’s already made a positive statement by clearing off the unsightly stuff that is lethal to fish and fowl. (Australia’s wildlife conservancies adore Dahlsen’s work, which was hardly his intention, but so be it.)
He wanted to impart a kind of Minimalist stability to his jumbles of deep true colours. One early assemblage of coffee lids, cooler fragments and bottle tops shared the ethereal white-on-white aura of a Robert Ryman abstraction or a William Bailey still life—only much more energetically. Piling up black combs, disposable razors and pieces of rope yielded a Louise Nevelson-like sculpture with attitude.
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Dahlsen has collected his “found” material all along the northern NSW coastline, a latter-day beachcomber. “I’ve even been to South Stradbroke Island, where I was artist in residence at Couran Cove at one stage,” he says.
“I walked up and down the 17km of beach there, and over a couple of weeks collected 70 or 80 jumbo garbage bags full of things that had washed up on the shore.”
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“I feel the planet is in very fragile shape. I believe it could go either way, and I felt that by joining with Big Brother I could do my bit to help,” he explains. His motives were initially misconstrued by some of his associates, who accused him of selling out to the forces of commercialism, but he claims to have won them back.
“It doesn’t take too much intelligence to see what my intentions were. Some people saw my artworks on the program and judged me because they weren’t aware of the green theme,” he says.
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These artworks exemplify my commitment as an artist to express contemporary social and environmental concerns.
By presenting this art to the public it will hopefully have people thinking about the deeper meaning of the work, in particular the environmental issues we currently face.
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I knew that an unseen intelligence was at work and soon realized the potential of a giant palate. Then I began the selections of yellow coloured plastics to make up its own pile in the studio, then the red, then the blues, the rope & strings, the plastic coke bottles, the thongs, etc. Soon the floor of the studio did resemble a giant painters palate.?
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During the latter part of 2005 and into 2006, I created a new body of environmental artwork, a series of Synthetic Polymer paintings on Belgian linen, based on the subject matter of plastic “purges” – plastic fabricator machine end waste. ??This work, considers cycles and recycling. I began re-presenting paintings of sculptures that are inherently plastic fabricator machine end waste. The use of plastic materials and their place in the evolutionary motions of recycling are important to me in constructing these images.
I see the real need for the massive social transformations that are essential, to adequately deal with such crises as the depletion of fossil fuels and climate change. I hope this work can be a timely reminder to us all of the limited supply of these petroleum based materials, which is a direct result of our current collective global mass consumerism.
