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.
My creative medium shifted from abstract painting to working as an environmental artist, as a result of an artistic accident during the mid 1990’s. I was collecting driftwood, on a remote Victorian Coastline, with the intention of making furniture and stumbled upon vast amounts of plastic ocean debris.
I’ve always loved the ocean since I was a boy. My mum and dad used to take us kids to the beach each weekend to enjoy swimming in the ocean walking along the beach and just generally exploring. We used to go to very remote locations because my dad is a bit of an adventurer, and later in my life this became something that was very inherent in my system.
We don’t need to revert to becoming cavemen again, however we do need to safeguard our future by planning to become more natural in every way. This will be the future of our cities, where all of our freshwater is captured from the buildings and our electricity will be generated from renewable sources such as solar and wind.
There is a fine line between pestering and simply being professional and following up. In my experience some of the best media coverage that I have had has come about through my providing a professional and detailed media release. That’s the first step. Following up on this is crucial, even just to find out whether the editor has received the press release that you have prepared.
The term environmental sculpture is variously defined. A development of the art of the 20th century, environmental sculpture usually creates or alters the environment for the viewer, as opposed to presenting itself figuratively or monumentally before the viewer.