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Floating like leaves suspended in space, this deconstructed forest plays on memories of an Australian summer.
This work speaks of the connection I have to the forest, not just on my property at Wallarobba but Australia. As an ecologist I see how everything works together. I believe humans need to realise that we are tipping the balance into degradation and extinction.
Conservation of forest is the building block of native animal conservation and the way humans use it needs to be limited if we are to halt the negative trajectory we are on.
This work is 3 of 3 in The Collection.
This is a wall piece hung in split batten style. Dudek’s wall sculptures investigate the complexity of seemingly simple and elegant geometric forms. Shifting shadows present as deepened monochromatic shades in the internal spaces of the works while the glow of gradated hues spreads outward and beyond the form. The shifts in natural light and atmospherics provide unpredictable and surprising visual experiences. In this way, Dudek’s practice sets up a slow dance between her works’ formal elements and the viewer’s bodily presence, resulting in a sense of stillness and calm.
Wall work hung with split batten Dudek’s wall sculptures investigate the complexity of seemingly simple and elegant geometric forms. Shifting shadows present as deepened monochromatic shades in the internal spaces of the works while the glow of gradated hues spreads outward and beyond the form. The shifts in natural light and atmospherics provide unpredictable and surprising visual experiences. In this way, Dudek’s practice sets up a slow dance between her works’ formal elements and the viewer’s bodily presence, resulting in a sense of stillness and calm.
I am happy to accept commissions for similar pieces. By connecting with people from a variety of cultures, we can learn from each other and hopefully live in balance and harmony. The Arctic Terns, flying the full distance from north to south pole observe and connect our communities as they pause on our shores.
Exploring the balance, proportions and composition by the expressiveness of the horse’s head and neck. I have created a figurative equine sculpture, appreciating the contrast between rocks in their natural state and the linear materials, utilising the angles to build visual and functional emergence of strength.
Number 5 (Maquette), 1973 is the maquette designed for a larger sculpture (150 x 296 x 275 cm) that was made for Woden Valley Hospital in the ACT. The horizontal pipes, supported by their black verticals, appear to float above the base creating a sophisticated elegance. The interaction of the pipes creates movement and form. This small maquette was part of Inge’s personal collection, as inscribed on the base, ‘PC’, and indicates her high regard for this work.
‘Number 5 (Maquette)’ is made of aluminium. The black painted posts & base are steel.
The two seemingly oppositional animal forms of an eagle and a serpent are shown journeying within and as part of the same vessel. They are reliant upon the other for their existence and protection from external forces so the work is asking each to come to terms with the other. It is a difficult but essential union/truce in order to keep the vessel afloat.
The eagle represents the spiritual and mental aspects of a person and the snake is representative of the human body and the visceral aspects of life. A void within the vessel depicts an ocean of consciousness. A snake rises out of the void to confront an eagle as its outstretched wings steady and balance the vessel, preventing capsize. All aspects of a person are reliant upon being in a balanced relationship with other aspects for wellbeing and thriving.
Imagine one’s life as a vessel which holds an ocean of consciousness within. Symbolically, two serpent heads are subdued as though kissing the ground and the ocean within the vessel is still. A balanced and safe passage is assured, preventing the vessel from capsizing. ‘Voyage into Being’ shows how a balance of mind, body and spirit is essential to healing and ongoing well being.