Garry Martin


Beauty is not just skin deep......

I use a variety of resin-based materials, often in playful and unusual ways to produce arresting and alluring sculptures, each possessing diverse levels of interest. Each piece is highly finished, labour intensive and individual. At the same time each piece becomes part of an expressive, bold body of work where surface and common association are primary devices for anchoring meaning.

I believe my work to be ambitious, highly skilled and professional in both it’s conceptual nature and it’s production. I get a particular thrill and place a great deal of importance on the complete manufacturing process from start to finish. From initial sculpting/fabricating/upholstering to the mould making; using plaster, fibreglass or silicon rubber, through to casting, finishing and often spraying, sometimes using complex, modern paint effects. I believe the knowledge and experience of diverse working practices not only develops the intense detailed, arguably obsessive nature of my work, but also, often through accidents, enlightens and opens new avenues of possibilities.

I am fascinated by shapes and forms that we recognize and that we are familiar with. I want my work to tap into these objects’ associations to bring about an immediate connection. Once the observer is engaged, my manipulation of the familiar will hopefully induce a further level of involvement; maybe attraction, repulsion or indeed a level of confusion.

I enjoy this challenge of stimulating desire towards my sculptures on a purely instinctual level and then playing with initial perceptions. The extensive use of visual, and sometimes personal, metaphors creates a unique but (hopefully) understandable sculptural language that has similarities to modern advertising which we have come absorb. An important aspect of this language is the title of each piece as they are all a considered and an integral part of each complete work.
The meticulously hand crafted fiberglass sculptures create an immediate attraction through their tactile surfaces, toying with the viewers urge for physical contact especially within a gallery/fine art context.

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