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| PETER TREVELYAN , NEW ZEALAND . |
Born
in 1973 , New Zealand .
EDUCATION –
Trevelyan
completed a Master of Fine Arts at Massey University Wellington in 2008 and is
currently undertaking a PhD. He has built up a solid exhibition history in the
public sector in a relatively short time. In early 2012 he was included in
Prospect, City Gallery Wellington's survey of contemporary practice, and recent
solo shows includeTenuous, Pataka Museum of Arts and Cultures,
Porirua (2012); Selected Proofs, SOFA Gallery, University of
Canterbury (2012); The Light Fantastic, Hirschfield Gallery, City
Gallery Wellington (2010); and the Mimetic Brotherhood, Four
Plinths Sculpture Project, Wellington Waterfront (2010–12).
THE ARTIST’S STATEMENT -
“My
works investigate drawing itself. A drawing is a plan, a preliminary
visualisation of something to be undertaken in the physical world. Drawing is
an ancient technology, a system for postulating, organising and mapping
information about the physical world and manipulating it in order to change or
affect that world. While exploring the possibilities of different forms I
received a very extensive education in the relative strengths and potentials of
basic three-dimensional forms. Inadvertently I was experimenting with the
series of forms known as the Platonic solids. Already I was intrigued by the
possible readings of these three dimensional drawings as relating to the ideal
forms postulated by Socrates in Plato’s Republic. Socrates uses “those who
study geometry and calculation…” as an example to illustrate the properties of
his ideal forms.
You
know that they use visible squares and figures, and make their arguments about
them, though they are not thinking about them, but of those things of which the
visible are images.They make them into hypotheses as though they knew them,
and will give no further account of them . Starting from these, they go on till
they arrive by agreement at the original object of their inquiry.
Viewing
the works in this way enabled me to clearly relate them to my research; they
became models for complex systems, struggling to account for the mundane
realities of occupying space. Constructed from pencil leads, a tool so closely
linked to the development and advancement of technologies, the obvious
fragility and sheer unlikelihood of these structures reflected the tenuous
foundations I had discovered in all logic-based systems. Furthermore the
structures created a confused subset of readings of the form itself, the
multiplicity of lines mislead, distract and disorient the eye so that it can be
difficult to discern the actual form, or even its dimensionality.”
PETER'S GEOMETRIC INSTALLATIONS
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