From the 8th of February - 13 of April HEDGE gallery presented 'Singularity' by Christopher Kurtz.
In this new exhibition, “singularity”, i have created a number of sculptures made up of constructed and carved pieces of wood. The forms appear to elongate and stretch out into dynamic compositions. The effect is that of structures appearing to be elastic, and held in a delicate balance. The forms often evoke rays of light, as well as more tangible structures. The pieces may be understood on an intimate scale, referring to forms such as spider webs, cracked ice, or thorns from a locust tree. Equally, the sculptures suggest expanses of space that are greater than our human experience: interstellar events, the collapse and explosions of stars, and light traveling infinitely through space.
In either case, the physical proportion of each sculptural form relates back to the scale of the human body. Whether the pieces are suspended from the ceiling, free standing on the floor, perched atop a pedestal, or mounted on the wall, they all consider balance and gesture that is familiar to this world. Nature is an inevitable inspiration for any creative process, and sources of nature can be found in all of this work. I am much more preoccupied with the built environment; how humans manipulate and refine materials, and how we interact with the world. The methods of how structures are designed and built - and then the way they inevitably surrender to gravity over time, are an endless source of inspiration. I also look at dance, ballet in particular, in a similar way. To leap and to land on point, to stretch and elongate an arm or a leg, to hold the position, and yield to gravity with grace, is the essence of my interest in sculpture. The act of making sculpture is a protest against gravity. To erect something and make it stand up is an act of hubris - but it is essential to humans affirming their existence.
My medium is wood, and my approach to sculpture is one of restraint and discipline. I have chosen to limit my medium to this material, and limit my studio to a relatively simple set of tools. I mostly work alone and my richest hours of creativity are very early in the morning, usually before dawn. The sculpture pieces are typically a combination of construction and carving. The structures are carpentered and joined, often with an armature holding the composition in place. There are many hours of work where the forms are being built, and taken apart to carve, and re-assembled. In this process of building, carving, and un- building, unexpected pieces will emerge. Each piece starts with a sketch or a wire model, but in order for each work to be successful, something surprising and unexpected must be discovered along the way, giving way to an unscripted object. Within these guidelines, i have found a deep and concentrated way of exploring sculpture. The grounding sense of place that the studio provides is also paramount to my process. Within this controlled environment, i feel the freedom to take risks.