Laminated marble sheets create a series of strata and contours in these small sculptures. I work to expose the intersections of curves and flow of the stone.
MARBLES
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PAINTINGS
Works in progress. Studio images.
RONDELLES/ PLASTERS
An ongoing project of wall mounted plaster forms, most commonly rondelles.
SLATES
An ongoing project where I am carving reliefs into found stone. Marble on occasion but predominantly slate. Easier to find broken bits and pieces.
GEOLIFE
GEOLIFE, Onyx
from Xiamen to Mount Martha
‘geolife explores the contrast between the brutal mass and weight of the stone block, and the sensitivity of its grain, the visible strata and its crystalline nature. The worked block reveals the geological markers reflected in the exposed layers and the softly shifting tones of ice-like translucent stone. The carving, deep into the block, exposes an interpretation of some kind of imagined terrain. A sculpted series of undulations in petrified layers of time.
GROUNDWORK
GROUNDWORK
The word ‘landscape’ can conjure up many images and often there will be a sense of it being an old and satisfying term. The meaning however can vary enormously from one person to another. Whilst a group of people may together look out upon the same scene we all bring different experiences that will inform what we ‘see’.
This problem is carefully analysed by American philosopher D.W. Meinig who states that any given ‘landscape is composed of not only what lies before our eyes but what lies within our heads.’
(D.W.Meinig, The Beholding Eye. Ten Versions of the Same Scene)
Dimensions. 2m x 2.7 app.
!990 – 2022 (long gestation)
Concrete, marble, bronze.
ps, one of the bronze figurines, a genuine Norma Redpath work was stolen. ( the elegant one on the left)
‘From Where We Once Were’ a site specific installation. BOAA. 21 September to 6November, Ballarat. George Farmer Building.
Artists statement
From Where We Once Were
I see and think of ‘the flow’; the flow of land and water, the form of things. I love to contemplate these things.
Mirei Shigemori is an inspiration and his design philosophy of the Japanese garden is a strong influence in this notion of flow.
The bricks are recycled from Takamasa Kuniyasu’s installation from the Australian Sculpture Triennial at the National Gallery of Victoria in 1990.
I love a brick and in quietly stacking and placing the bricks I find a calm space. I have got to know and recognise certain bricks, their colour, their curve. The minute differences in length depending on their colour.
Concentric form, corbelling, stacking, structure, gravity, interlocking, interdependence.
Onyx – translucent, light and seductive.
Marble – pure and soft.
Granite – immutable and tough.
Bricks – hand made, hand laid.
I-STONE
Install at Stockroom, Kyneton.
Progress images of work for I-STONE. Onyx blocks sourced from China in 2012. I-STONE at STOCKROOM, Kyneton 14th July – 5th Aug.
Here is a brief artists statement for the exhibition.
I-STONE
With these works Stoner refers to the material of rock and stone as a storyteller of history, location and time. The stone is simultaneously prehistoric and of the moment.
There are multiple stories present: a geomorphology comprising its age, its mineral composition, its formation; and then, its physical location, its quarrying, transport, cutting, commodification, resale, transport, carving, transport and now exhibiting.
Stoner illustrates his preoccupation with the detail of the colour, the layering and texture, and of the contrast between, ‘as found’ and the highly worked and polished surface that reveals the internal richness. The deliberate holes, cutting and chipping illustrate this by delving into the interior of the stone.
Finally as a viewer we can now look at these stones and experience an imagined intervention and an actual intervention where the transformation of the stone takes us deeper into the material and yet further away from its reality.
mark stoner 