Catriona Robertson
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On the edge of collapse and precarity my sculptures burrow and bury themselves, digging into the ground and carving out pathways up into the ceiling. Tunnelling through in-between spaces, they re-emerge with a new hardened stone-like shell. I imagine a narrative of a post-human future in which nature comes back through the cracks of concrete foundations. Gargantuan worm-like creatures have adapted to digest these synthetic materials that have compressed over time, excavating new age sediments and re-constructing future architectures. There is a subterranean network of hidden cities beneath us, organic intertwined with inorganic. By covering the ground in concrete, tar and bitumen, we are disrupting the ecological cycle as these inorganic materials degrade at different rates with little or no nutritional benefit to the earth.
I am fascinated by the idea of the urban landscape as a collage and how architecture forms an urban geology where layers of history are built on top of foundations. My work responds to the interconnectedness of nature and the city as a landscape resulting in sculptural relics which embody an architectural imprint, a re-wilding the city.
My use of re-claimed and re-cycled materials reflect on throw-away culture, where the bedrock beneath the future city will be made up of detritus and past human relics compressed and sedimented.
I perform a ritual of breakage in my process, pulping re-cycled paper, discarded packaging to their core fibres. By squeezing, cracking and blending these opposing elements into a sculptural collage, the materials become an aggregate. Fragments and chunks are carved out, broken, re-cast and repaired, they become relics of a synthetic marble formed of plasticised concrete
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On the edge of collapse and precarity my sculptures burrow and bury themselves, digging into the ground and carving out pathways up into the ceiling. Tunnelling through in-between spaces, they re-emerge with a new hardened stone-like shell. I imagine a narrative of a post-human future in which nature comes back through the cracks of concrete foundations. Gargantuan worm-like creatures have adapted to digest these synthetic materials that have compressed over time, excavating new age sediments and re-constructing future architectures. There is a subterranean network of hidden cities beneath us, organic intertwined with inorganic. By covering the ground in concrete, tar and bitumen, we are disrupting the ecological cycle as these inorganic materials degrade at different rates with little or no nutritional benefit to the earth.
I am fascinated by the idea of the urban landscape as a collage and how architecture forms an urban geology where layers of history are built on top of foundations. My work responds to the interconnectedness of nature and the city as a landscape resulting in sculptural relics which embody an architectural imprint, a re-wilding the city.
My use of re-claimed and re-cycled materials reflect on throw-away culture, where the bedrock beneath the future city will be made up of detritus and past human relics compressed and sedimented.
I perform a ritual of breakage in my process, pulping re-cycled paper, discarded packaging to their core fibres. By squeezing, cracking and blending these opposing elements into a sculptural collage, the materials become an aggregate. Fragments and chunks are carved out, broken, re-cast and repaired, they become relics of a synthetic marble formed of plasticised concrete
On the edge of collapse and precarity my sculptures burrow and bury themselves, digging into the ground and carving out pathways up into the ceiling. Tunnelling through in-between spaces, they re-emerge with a new hardened stone-like shell. I imagine a narrative of a post-human future in which nature comes back through the cracks of concrete foundations. Gargantuan worm-like creatures have adapted to digest these synthetic materials that have compressed over time, excavating new age sediments and re-constructing future architectures. There is a subterranean network of hidden cities beneath us, organic intertwined with inorganic. By covering the ground in concrete, tar and bitumen, we are disrupting the ecological cycle as these inorganic materials degrade at different rates with little or no nutritional benefit to the earth.
I am fascinated by the idea of the urban landscape as a collage and how architecture forms an urban geology where layers of history are built on top of foundations. My work responds to the interconnectedness of nature and the city as a landscape resulting in sculptural relics which embody an architectural imprint, a re-wilding the city.
My use of re-claimed and re-cycled materials reflect on throw-away culture, where the bedrock beneath the future city will be made up of detritus and past human relics compressed and sedimented.
I perform a ritual of breakage in my process, pulping re-cycled paper, discarded packaging to their core fibres. By squeezing, cracking and blending these opposing elements into a sculptural collage, the materials become an aggregate. Fragments and chunks are carved out, broken, re-cast and repaired, they become relics of a synthetic marble formed of plasticised concrete