#boyd webb

I was wrapped around in my drawing of silhouette, I sat in a chair with my hand held high. I explored how colour might affect the results.

This first one on the right the colours are bright and inviting but I am locked in possibly looking for help. I wanted to imitate the drawing by lifting my hand upwards, however on reflection my hands are too upright and it doesn’t feel equivalent to the drawing, I now feel it’s incongruent to the original drawing. What can I take away for this? The body shows moment in different ways, although in my mind I thought it was the same . I looking at it later objectively I understood the difference. The original silhouette was my body lying on a table relaxed with no effort from my body as opposed my hands standing straight up in the air is a more forced version and looked different in performance.

Researching I came across Body Webb using a person in his sculptures and looked at how it interacts with the sculpture

Above Body Webb uses a body in his sculpture, to me it looks like the foot of an elephant standing on a persons head like he’s going to be killed execution style. The person is holding a gun in his hand, possibly to kill the elephant.

The concept of visualising time is challenging, as time is in the moment.

Boyd Webb captures this . Boyd makes temporary sculptures, the composition is made in the studio, then photographed. The art is the documentation of the time that it existed.

Boyd Webb. 1983

Unoriginal Sin

Boyd uses actors in his work to capture ,he plays with real and and imagined spaces.

Ocula Conversation: Boyd Webb

Boyd Webb was born in Christchurch, New Zealand in 1947 and attended the University of Canterbury School of Fine Arts (Ilam). He won a scholarship to study sculpture at the Royal College of Art, London in 1972 and continues to live and work in Brighton, England.

Initially he worked as a sculptor, making life casts of people in fibreglass and arranging them into scenes. He eventually turned to photography and his early work played with ideas of the real and the imagined. Through mysterious and elaborate compositions created using actors and complex sets built by the artist in his studio. In later years his focus shifted to a cool observational style, his work less theatrical and technique less elaborate.