Wayne Sutton
Exploring interactions between humans and nature.
I create sculptural vessels and objects that reflect my environment—both natural and constructed. As a collector of patterns and proportions, my work is an abstracted extension of these visual ‘possessions’, combining organic and human-made forms. My work explores the interactions between complex biomorphic shapes and clean, modern lines to reflect the tension between humans and the natural world.
My previous work used non-ferrous metals, primarily silver, as a medium to explore abstracted natural forms. In this work, I sought to capture life and movement in a permanent form—to capture the dynamism of nature in implied or actual movements.
In my most recent work, I explore the resilience of life in more organic materials—primarily hardwood. By reacting to the grain of the wood and conversing with the material as I create, I seek to imbue new life into an organic, but static material. In thó Juniperus, I combine external gouging to reflect decay and the natural life-cycle of organic forms with traditional woodturning techniques to reveal and polish the wood grain within the bowl. The inorganic enclosure—digitally designed by Richard Elaver—protects and contains the heart grain. This collaboration evokes the hope that humans have the capacity to serve and protect our environment by working with nature and not destroying it.
I create sculptural vessels and objects that reflect my environment—both natural and constructed. As a collector of patterns and proportions, my work is an abstracted extension of these visual ‘possessions’, combining organic and human-made forms. My work explores the interactions between complex biomorphic shapes and clean, modern lines to reflect the tension between humans and the natural world.
My previous work used non-ferrous metals, primarily silver, as a medium to explore abstracted natural forms. In this work, I sought to capture life and movement in a permanent form—to capture the dynamism of nature in implied or actual movements.
In my most recent work, I explore the resilience of life in more organic materials—primarily hardwood. By reacting to the grain of the wood and conversing with the material as I create, I seek to imbue new life into an organic, but static material. In thó Juniperus, I combine external gouging to reflect decay and the natural life-cycle of organic forms with traditional woodturning techniques to reveal and polish the wood grain within the bowl. The inorganic enclosure—digitally designed by Richard Elaver—protects and contains the heart grain. This collaboration evokes the hope that humans have the capacity to serve and protect our environment by working with nature and not destroying it.
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