robert-pace 3d-artist

black stoneware has an, inert, quality about it and is also quite brittle. the face defines these qualities as if they were a human condition. thin elements crown the head; however, the more fragile elements are added, the more solid the head feels

a second black stoneware face, equally inert and brittle. there are fewer spindly elements crowning the head making it more rather than less fragile, and also more vulnerable

finished, fired ceramic usually stands on display on, say, furniture. in this case it is hung from a clothes line as if being dictated to how to behave. the restrainer is a plastic clothes peg, albeit not-single-use plastic. is it ? acceptable ?

partly glazed ceramic. they are swaying and captured in time as if trying to break free from, this time, eco-friendly timber clothes pegs that are restraining them. so, what has changed from the previous condition ? .. from non eco to eco ? ..

an aerial, reconnaissance photo of a peaceful, tranquil island set in crystal clear deep blue sea among its own unique environmental flora and fauna. its only unforgivable sin is that from a distance it looks like a ship. for this reason it has been used as target practice by navy and air force and shelled indiscriminately. a no-go-area, it now crumbles inside a living grave among its own unspent ordnance

the oblique, foreshortened drawing is in less than fifty shades of grey ink. it is drawn from the comfort of the mainland well away from showers of explosives, while under pleasant azure skies that help to capture the gloom of the environment

the circa, 180mm bronze, 3d representation of the island was stylistically modelled in domestic, exterior-grade filler-material that is usually used to make good over cracks and crumbling masonry and that withstands the elements but not explosives. a silicone, heat-resistant mould was then built around it and hot wax poured into it. the bronze was cast using the lost wax method. hurrah, the island has now been immortalised for posterity, in miniature, in a cold shiny metal

2d images of three alice-in-wonderland type figures, as if contemplating fashions and trends that bridge the age gap but are not vital, after all, to the nude mature figures. irrelevant relevance. in 2d and on tiles that could also transform into 3d illustration if the tiles are mounted in cubes /pyramids /polygon shapes /etc

detail of under glaze, paper release, on biscuit stoneware under clear glaze. when the once- predominant alice-in-wonderland images are out sight, what remains is now minimal, symbolic objects and symbolic figures reduced to just outlines at the periphery of the total community of figures

an outlandish, orange-in-colour installation in a commercial space. the space was earmarked for a traditional, painting or sculpture portraiture. this chain of constraints is broken and the chain itself replaces the norm to tell the story of change of heart in installation approach

image taken from life. a mould is built over the face, with some third party help, while leaving the area around the mouth free. -otherwise drinking straws could be placed in the nostrils.- a plaster cast is taken from the mould and then finished in stylised detail after adding and/or removing material. this one is later slip-cast in stoneware, in two pieces, and is raku fired. the images are looking at each other, rather in a reversed piscean fashion and are floating over wavy ceramics

a number of chains are developed in different colours and also in monochrome. a link is circa 300mm in length, in grp, high polish or satin finish. the chains are displayed in different ways: as part of a branches and driftwood display, hanging solo, heaped up in a bundle, indoors, in commercial or in domestic environment

the unclothed features of the hair-waving plastic figure are obscured with raw food that is as tasteless as the features themselves in a veiled attempt at modesty ..

the camera has panned over the motionless figure from the previous position and is only giving the impression that the figure has moved. movement is in the mind of the beholder ..

inspired by the elaborate but delicate venetian carnival dance masks that cover the eyes without obscuring the made-up face or the person behind it, this paper and silver foil mask obscures, transforms and redefines the wearer while even covering the eyes and vision too while emphasising colour. this head-dress that is known in other carnivals as a grotesque mask offers only itself to the viewer and it obscures the wearer

from 2d to 3d out of a card that was originally the invite to submit work for showing. the shapes and forms are cut out with scissor blades, re-positioned, coloured and folded forward and backwards, not quite in origami fashion, into a fragile paper construction. it is presented as a 3d card that has been returned to sender

another card, originally an invite to submit work for showing, has the shape of a cut-back tree trunk embossed onto it while cones of different colours are hanging from the tree branches. the whole thing is planted into a terracotta pot-shape. the recycled card is returned to sender and submitted as a low-relief / high-relief piece

the blank, white back of the card inviting work for submission is itself returned with three lines of 3-d twigs sewn onto it in three layers in space, namely, foreground, middle ground and background. fingerprint impressions of colour paint are marked above each tree trunk to complete each tree, using thumb, middle finger and little finger respectively. all the trees are planted as one into one terracotta pot-shape via the invite card that carries them

one heap of sand is poured onto a news paper at random and the sheet is played with, with both hands, one at each end lifting and tilting the paper and ending up with two identical, manipulated heaps of sand. one distinctly divided relaxed shape

sand is again manipulated and made to flow into a divided, tight, unrelaxed shape that contrasts with the previous shape. the contrasting result comes about after using exactly the same manipulative method as earlier. the results are juxtaposed visually and physically

the birds in this sculpture detail, like proverbial live lemmings, are made to behave as is dictated to them. they are put in their place in one pose inside cages. in real life they are free to go and come as they please until they are captured, trapped and restricted. they represent real life species that are progressively becoming extinct. birds are chosen in this representative context for the pathos a bird commands similar to the attractive panda in the w. w. f. logo

these two historical pieces, this one and the earlier one are both in monochrome in grp, timber and metal. they depict the current colourless, sad issue that is at the fore of wild life conservation efforts. there is an 'ante' to this piece and at this rate there might be a 'post' piece in sculpture form only

the birds were taken to the beach to be photographed before being placed in the sundry array of cages waiting for them. this was done for two reasons, namely, for artistic reasons as part of the art package and also, on a positive note, to place these creatures in a natural environment, arousing conscience and reminding one where real birds would be in real life, roaming merrily away

a different still photograph taken before locking the birds inside the cages. a number of pictures were taken and however much of an artistic value they might have, the pictures should induce repugnance. they remind one that the real creatures might not be in that natural environment for much longer; at the alarming rate that wild life is, turning from real to ephemeral: just as these pictures are