source: artschoolvets

Der aus Colorado stammende Pard Morrisons schafft Kunst, bei der es sich um einem Mix aus Skulptur und Malerei handelt. Vor allem geometrische Abstraktionen und freistehende Skulpturen scheinen es dem Künstler angetan zu haben, wobei letztere leicht an die Werke eines anderen Künstlers erinnern. Genau wie die ebenfalls freistehenden Säulen von Constantin Brâncuși erzielen Pard Morrisons Skulpturen die beste Wirkung im Freien – jedoch nicht wie bei Brâncuși aufgrund der Größe, sondern dank des Kontrasts zwischen den natürlichen Farbtönen der Umgebung und den grellen Tönen seiner Kunstwerke. Die geometrischen Formen sind hauptächlich auf Aluminium oder Akryl aufgebracht; Formen und Farben hat er so gewählt, dass ein hoher Grad an Dreidimensionalität entsteht.
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source: pardmorrison
All experience, whether visual, aural, or tactile, are evaluated and understood using a wide array of both socially learned and evolutionary informational filters. Real experience is rapidly being replaced by artificial two dimensional experience. This increasingly jeopardizes our relation with factual narrative. The anthropomorfication of technological devices further blurs the distinction between natural existence and post narrative experience. My interest lies in the exploration of this intersection; the intersection of pictorial illusion, and specific object, and the marriage of both. I hope to create work that upon first encounter primarily reads as artificially fabricated, but upon further investigation, the visual strength of its own “objectness” is compromised by specific human mark making. They have a familiar materiality and shape, but also display attributes that are somewhat unnamable, visually discordant—non-specific. This visual language of specific geometric gesture simultaneously establishes compositional form, and at the same time visually destroys the specific object that it is applied upon. These works are momentary portraits of systems that are in flux.
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source: geoformnet

I am interested in exploring the intersection between two-dimensional pictorial illusion and sculpture.

To create one of my works, I weld sheets of aluminum into box-like forms. That is to say, unglazed, they appear first and foremost as solid and dimensional. Each color is individually hand brushed pigment. Then I fire the pigment in an oven, a process similar to glazing ceramics. Each color must be fired separately in order not to contaminate its neighboring color.

Upon first interaction, my work primarily reads as artificially fabricated, but upon further investigation, the visual strength of its own “objectness” is compromised by specific human mark making. This visual language of specific geometric mark making simultaneously establishes compositional form and, at the same time, visually destroys the specific object that it is applied upon.