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Arthur H. Johns Jr.
Artist Statement 2003
As of late I’ve been creating sculpture almost exclusively, so this text will primarily deal with my ideas pertaining to the production of sculpture, specifically kinetic sculpture. The pieces that I am currently working on are based on energy, gravity, and movement. These pieces are conceived first as stationary sculptures utilizing geometric designs with the primary emphasis being balance, stability, and form. Of course the kinetic aspects of these sculptures are planned for from conception, but the primary emphasis of the work is on the overall form of the sculpture. The kinetic elements of the sculpture are defined during the primary design phase as potential forms. I define these “potential forms” as the shape or shapes that the element will define while in motion. It is these potential forms that I am primarily interested in, thus causing the kinetic aspects of the work to be of secondary importance during the design stages. However the kinetic forms on the finished piece when not in motion must be interesting in their own right.
My current sculptures require interaction with the observer, so the kinetic elements spend much more time at rest than they do in motion. I believe that these pieces should be enjoyable as a sculpture whether they are kinetic or not. Thus my designs often are intentionally vague in the drawing stages of their conception. This subordinates the kinetic elements of a given sculpture in favor of the definition of the overall form which the sculpture will take. I want the viewer of my work to become interested in the form of the sculpture before they discover that the piece is kinetic. Once the observer has become interested in the piece then the kinetic aspects can come into play. The kinetic elements of the work are intended to augment the enjoyment of the work by the observer, not dominate the aesthetic experience.
My work is intended to interact directly with the observer. This is achieved by the observer introducing the energy which is necessary for the kinetic elements of the sculpture to function. My pieces are intended to be directly manipulated by the viewer. The observer of my work is invited to interact with the piece. The kinetic elements are designed to provide unique functions depending on the manner in which the viewer interacts with the specific pieces This connects the observer with the sculpture by the sharing of energy which the piece transfers into its specific movement and is unique movement.
My work is most often described as having a mechanical “feel” to it. This is probably due to the fact that many of the working components are in fact based on components that can be found in antique or historical machinery .The nature of my work is very much in direct relation with the materiel with which I work. Steel is used predominantly in the production of objects that function either mechanically or structurally. I use steel in my work , thus my work has a built in implication of function. If I worked with wood, or some other media my work would certainly reflect the specific idiosyncrasies that are dictated by the media. I believe strongly in Aristotle’s law if identity. A thing is what it is, and must act accordingly. Steel acts and reacts in specific ways in adherence with its nature. The fact that I create my work using forged steel in many ways dictates the form that my work ends up taking. Steel is an amazingly versatile materiel. It can be forged and formed into an almost infinite variety of shapes , however it has It’s own set of specific features which dictate the forms that it is most suited. I choose to utilize those characteristics that steel is most noted, specifically strength, flexibility.
For the last several years I have been constructing sculptures using a system of hand forged structural elements, and hardware components. All of the elements and hardware that I use in my work are intended to interact within the form of the sculpture while performing their structural function and remaining interesting forms in their own right . These elements are then combined utilizing a variety of joinery techniques in order to define the form that I am constructing.
Most of the joinery techniques that I utilize in the production of my sculpture are considered to be traditional. However, I believe that the term traditional is in some ways inaccurate. I am hardly considered a traditional blacksmith. To the contrary in most cases and in respect to most techniques I am considered to be a maverick. In fact many of the production techniques that are utilized are of my own invention. In most cases the techniques that I utilize are pretty basic, but even my approach and working habits are somewhat unconventional. I guess it is really the approach that I take towards the materiel that differentiates my work from that of most traditional blacksmiths. It has been my experience that in most cases those who are overly concerned with adhering to tradition are producing rather unimaginative and derivative work. , but then again I have never had any interest in trying to make work that is anything even similar to that which is being produced by any one else. I have always made it a point to work in a manner that is entirely my own.
In most cases my work is produced in series. This enables me to approach a specific theme in an in depth and diverse manner, as well as produce a number of pieces in an efficient and timely manner. I have a tendency to be working on a number of sculptures at any given time, all of which are based on a specific theme. Many of the parts that I produce are interchangeable because when I am working on a series I am specifically interested in continuity within the theme that is being explored. Each specific series is generally motivated by a specific theme or idea that is fully investigated when I have completed the series. Each specific series is generally directly related to the preceding series, which generally generates the concept which functions as a springboard for each subsequent series.
The approach that I utilize in the production of sculpture acts as a theme which is integrated into the production of all of the other items that I produce in my workshop. Certain aspects are modified in order to accommodate the various functional aspects of the particular pieces that are being produced , but the over all approach is generally the same. Above all design, balance, joinery techniques, and continuity are all integrated in order to produce whatever I am in the process of creating.
I hope that this brief text serves to partially illuminate certain aspects of my work. Interested parties can look forward to more in the near future. But please understand I would rather be producing the work than engaging in endless introspection. Thank you for your interest.
Cordially
Arthur H. Johns Jr.
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Curriculum Vitae
Education
Master of Fine Arts, Metals (Iron), Southern Illinois University Carbondale. August 1995 - June 1998. L. Brent Kington, Richard Mawdsley, Rick Smith
Bachelor of Fine Arts, Metals, Wayne State University, Detroit, Michigan. Graduated Cum Laude. September 1987 - December 1992. Phillip Fike
Show List
9-95 Expressive design in Iron Exhibition, Penland School of Craft, Penland, North Carolina
11-95 Holiday Craft Exhibition, Detroit Gallery of Contemporary Craft, Detroit, Michigan
9-97 Eighth Annual Peoples Choice Exhibit, Southern Illinois University, Carbondale, Illinois
3-97 Eight Blacksmiths An Invitational Exhibition, Associated Artist Gallery, Carbondale Illinois.
9-97 Graduate Preview Show, Southern Illinois University, Carbondale Illinois.
3/1-14/98 Explorations in Forged Metal an MFA Thesis Exhibit, Associated Artist Gallery, Carbondale, Illinois
5/21-23/99 Greek Town Arts Festival, Detroit Michigan
6/26,27/99 Chesaning Art Festival, Chesaning Michigan
10/9,10/99 Chesaning Arts & Antique Festival, Chesaning Michigan
11/21/99/-2/13/00. All in Good Fun: Toys By Metalsmiths, National Ornamental Metals Museum, Memphis TN
5/18-21/00 Greek Town Arts Festival, Detroit Michigan
7/2/2000 National Cherry Festival 8th annual Arts & Crafts Fair, Traverse City Michigan
8/19 /2000 24th Annual Frankfort Art fair, Frankfort Michigan
9/9-10 2000 35th Annual Arts & Apples Festival, Rochester, Michigan.
9/16-17 2000 52nd Annual Rockford Art Museum Festival.
Rockford, Illinois
10/11-31 2000 Michigan Artist Blacksmith Association Exhibition. Traffic Jam &Snug Gallery, Detroit, Michigan. (Best of Show)
11/3-5 2000 The Birmingham Temple Juried Art Show. Farmington Michigan
12/3/2000-2/18/2001 Wind & Whimsy: Weathervanes & Whirligigs, National Ornamental Metal Museum, Memphis Tennessee
6/6-12/2001 The Three Rivers Arts Festival, Pittsburgh, Pennsylvania
7/2001 23rdAnnual Art In The Park, Petoskey, Michigan
9/9-10 /2001 36th Annual Arts & Apples Festival, Rochester Michigan. (Best of Show)
12/2/2001-4/21/2002 Round About: Reinventing the Wheel, National Ornamental Metal Museum, Memphis Tennessee
7/11/2002- 8/25/2002 All Area Show, Studio 23, Bay City Michigan
11/23/2002-2/16/2003 Ariana in Wonderland, Ariana Gallery, Royal Oak Michigan.
7/18-9/17 2003 Shiawassee Arts Council Tenth Annual Juried Statewide All-Media Art Competition, Owosso, Michigan
10/21 2003 Grand Auction, National Ornamental Metals Museum, Memphis, Tennessee (Invited Artist)
2/23-3/31 2004 Englewood National Juried Arts Show, Museum of Outdoor Arts, Englewood, Colorado.
8/17-9/12 2004 Featured Artist, Shiawassee Arts Center, Owosso, MI
Recent Awards and Recognition
Best of Show, Arts and Apples Festival 2002, September 10 2001, Rochester Michigan
Best of Show, Michigan Artist Blacksmith Association Exhibition, November 11-31 2000, Traffic Jam and Snug Gallery, Detroit Michigan
Certificate of Merit, the Worshipful Company of Blacksmiths, February 17 1999, London England
Honorable Mention, 8th Annual Peoples Choice Exhibit, September 1996, Southern Illinois University, Carbondale Illinois
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