trunknuts, WHITEHEAD, floater: Peter Shelton

trunknuts, WHITEHEAD, floater

Artist: Peter Shelton

Date: June 29 to August 7, 1982

Peter Shelton exhibited three sculptural installations. The exhibition was accompanied by a catalogue, published by Open Space, which documents two recent exhibitions by the artists, trunknuts, Whitehead, floater (at Open Space) and Sweathouse and little principles, which was exhibited at the Contemporary Arts Forum in Santa Barbara, California. 

"His installations are large structures often consisting of welding components assembled to yield walkways, hallways and architectural spaces small and large." This installation followed this tradition and was composed of three different yet related sculptures. 

 

Peter Shelton, floater, 1982 

"In the poured water dwells the source. In the source dwells the rock and the dark slumber of the earth, which receives the rain and the dew of the sky. In the water of the source dwells the wedding of sky and earth. The gift of pouring is the jugness of the jug. In the character of the jug, sky and earth are present." -Martin Heidegger

Peter Shelton, trunknuts, 1982

"Each of Peter Shelton's sculptural installations is marked by its own subtle and distinct character. Like shaded memories of one's youthful homestead or the compelling yet inexplicable identification that a particular location might engender, his works form a literal meeting ground in which the viewer and the installation seem to reveal themselves to one another. Much of his art calls upon direct architectural references—platforms, enclosures, skeletal structures, sheds, furniture, and so on—but even his most organic and abstract forms declare their origins in industrial manufacture. As with architecture, each component part, their collective interrelationships and the tonality of the whole establish a complex ecology that reveals itself temporally and empirically in small and quiet increments. 

The syncretic totality that results from experiencing Sheldon's installations can simply be described as the evocation of "place." A place is more than an assemblage of axial coordinates, more than a physical environment or location. A place has a human dimension as well. Our identification with that dimension—the experience of a bond—implies an act of orientation toward something that exists both outside and within ourselves. Meaning, therefore, is of necessity revealed in a particular place, and the character of the place is determined by the revelation. It is within that indescribable identification that the meanings of Shelton's art reside." 

-Knight, Christopher, Peter Shelton, Open Space, Victoria B.C. (Box 6, 1982: S2) 

 

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