Waiting for W H
SEAN CRAWFORD
Waiting for W H
Steel extrusion with a paint render, steam bent Kauri, rendered with Shou Sugi Ban technique
2050 (t) x 850 (w) x 500 (d) mm. The base is 500 mm diameter.
$8,200
This work references to two strong influences in my life and artistic practice. Whilst channeling the spirit of my father, this lit sculpture is also a nod to the brilliance and darkness of New Zealand painter William (Bill) Hammond. As it morphs from oiled Kauri timber to the blackened surface render, the abstracted Huia form makes reference to the bird figures in his paintings. Using the Japanese Shou Sugi Ban technique, this method both chars and preserves the Kauri.
The transition that can be seen transforming the black plumage of the Huia - through both burnt and non-burnt timber - mirrors the arrival of the European and the changing landscape. Burn-offs/clearing were commonplace as the need to make the way for agriculture and settlement grew exponentially. Therefore, this piece is also a lament to the loss of habitat and dependant species. It is guided by inspiration from the past, as well as echoes that resonate into the present and the future.
William Hammond - known as Bill - is one of my favourite New Zealand painters. There is a quality and aesthetic about his work that I am drawn to. The almost trance like qualities of his painting ‘Waiting for Buller’ provide a void of unease. Almost Gothic in their visual language, his paintings resonate in me like the prelude to an eruption, destined to break the calm.
My father, once a boat builder, passed on his set of skills to me. From practical application, this soon flowed into a vehicle for artistic expression - as I learnt both craftsmanship, as well as a love for the properties of wood. This influence provided me with a holistic approach to my art, especially when compared to the more aggressive nature of working with metal.
From skills like steam bending techniques through to lamination I gained a library of knowledge - and was able to use this to create ‘physical form’. I was lucky enough to work on a couple of sculpted furniture pieces with my dad, where his guiding influence and calm approach countered the impatience of my youth.
I have chosen Kauri for this piece as it was also a timber he loved as it was present in a lot of the boats that he worked on in New Zealand. It is also a great timber to use for the steam bending technique and it connects something of him to the piece. This choice of material, and of process, embodies our time together and is a way to carry that on - and honor my fathers memory.
