chipneville.com

Creative Modes

• Sculpture

  I began working with installation initially as a way to explore creating work for gallery audiences and three dimensional spaces. I wanted to think of ways to get the patrons to interact directly with the work of art. I began constructing devices akin to victorian slot machines in construct and kinetiscope in content. I wanted the gallery patron to be able to see touch and physically explore my work. With the addition of sound, I can envelop the viewer with the piece.

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  Sound

  I try to bring more than just three dimensional space to my installations, I also include audio. My philosophy sees the gallery space as enveloping all the senses not just the visual. I want my audience to see, touch and hear the work of art. My approach is loop based because of the unique viewing logistics of most art galleries. It also tends to be quite abstract with the exception of work like The ballad of Skunk Ape which is arguably more performance than installation. Regardless I wish to envelop all the senses of my audience through a guided aesthetic journey.

• Materials

  In 2005 I began working with brass and wood. I was unaware of the steam punk movement when I began but the critiques that cited similarities to H.G. Wells and Jules Verne were consistent. It seems I divinized the Steam Punk movement before I ever really knew what it was. I was simply working with familiar materials. My background includes a lot of custom wood work for yachts, custom flight cases, and other fabrication techniques. Sculpture with wood and light metal seems like a logical medium.

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  Electronics

  As a young person growing up, if I asked for a FM radio for my birthday I got a Heath kit FM radio which I had to solder and assemble myself. I loved that sort of thing and throughout my childhood learned much about electronics and circuitry. In my installation work I use primarily recycled consumer electronics. My background still informs the process.

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