For myself what I find particularly interesting with regards to Nagle’s work is the use of striking colour, unique form and how ultimately the sculpture comes together to create an interesting yet obscure composition, a story between texture and miniature structure.
Many of the colours Nagle uses are incredibly artificial. There seems to be a stark element to them, they seem earthly yet familiar. Below the outer structure looks representative of corroded limestone, the black glaze looks like oozing hot tar. Nagle’s sculptures are so familiar because they are so representative of materials that we see in the everyday.
Although Nagle’s sculptures are strikingly small they command space and stand bold.
What is immediately fascinating for myself is the relationship between Kapoor’s mirrored exteriors and giant mounds of clay. How the two materials work together to tell a story and create a material symbology.
Coming up to finally putting together my exhibition What is important for myself is how the language of these objects together speak, how in the gallery format they fit and by these objects being together what as a viewer does it mean to yourself ?. Kapoor has done this incredibly well. The surface of these sculptures contrast the polished mirrored works, they function as explorations of depth and interiority, they indeterminate our sense of dimension.
Coming up to the end of my degree show set up what is crucial for myself is how I compositionally arrange my objects to not only work together effectively but conceptually set the atmosphere and theme of the primordial, relationship and language and how ultimately all these elements can create material symbiotics.
Can specific arrangements speak a certain language ? can they ‘set the stage’ for conversation ?. By beginning to look at this low plinth as a stage it allows myself to look upon this composition as a story, why are certain objects grouped together and what does this necessarily mean ? for myself a lot of these arrangments hold highly personal yet subliminal memory – from the arrangement of small girders holding vestige to early experiences of materiality with regards to my dad as a builder and my experiences of building sights to the small arrangement of decorative rocks holding vestige to more recent times down in Penarth.
For myself, this low stage sets the story of a timeline, my own personal and tactile experiences with materiality and form.