Close

Ice is the answer. It is also the question: sculptor Gabriel Warren joins Dark Snow Project

I position my work at the intersection of two fault lines: that between art and science, and that between mankind and the natural world. I have found natural ice formations to be a rich source for my endeavors in sheet metals, glass, illumination, stones, and more.

miriam full comp-3

A lot of my titles are in ancient Greek, for reasons explained on my website. This one is “Empurologia #24”. It simply means ‘study of interior fire and light’. It is located in the cafeteria of Miriam Hospital, Providence, RI. (2009)

I have been fortunate to be able to witness ice in its own ‘habitat’. In 1999, Courtesy of the National Science Foundation, I became the first sculptor from any country to be sent to Antarctica. In 2001, I deployed to the high Arctic with the Canadian Coast Guard in the Lancaster Sound area. In 2006 I deployed again to the The Ice — Antarctica. These trips (and others I have organized privately) have been absolutely critical to my output. I have found that I cannot work just from the photography of others; without personally being confronted by these phenomena, I can’t insert what to me is absolutely central to any acceptable art: emotional content.

Piesterion #6-2

This one is ‘Piesterion #6. The title refers to pressure (think piezo-electric), since this series is loosely based on ice cores. (1991).

I am invited to join Dark Snow summer 2014. This is a bullseye for me. I have seen plenty of imagery, in the course of research, of the supraglacial lakes, rivers, and the moulins that drain them down to bedrock far, far below. I see this as a cast of characters that I can use to create metaphorical meanings and interest in my work. I have only one life, and I will not use it to create pretty shiny things: I demand real meaning from what goes out the doors of my studios.

Warren_Gabriel

I consider myself a landscape sculptor– by which I do not mean that I bounce about on bulldozers: there are scars enough on the land. Rather, the forms and patterns that I find in my travels, especially in ice, give me an armature for my intellectual, emotional, visual explorations and probings in metal, as well as glass, stone, and other materials. These emerge from my deep appreciation of the natural world, and my distress at the insults, many of them irrevocable, that it receives from our species. This environmental subtext is not presented in an obviously illustrative kind of way, but woven into a metaphorical fabric.

About the author Gabriel Warren

I consider myself a landscape sculptor– by which I do not mean that I bounce about on bulldozers: there are scars enough on the land. Rather, the forms and patterns that I find in my travels, especially in ice, give me an armature for my intellectual, emotional, visual explorations and probings in metal, as well as glass, stone, and other materials. These emerge from my deep appreciation of the natural world, and my distress at the insults, many of them irrevocable, that it receives from our species. This environmental subtext is not presented in an obviously illustrative kind of way, but woven into a metaphorical fabric.

All posts by Gabriel Warren →

Leave a Reply

Your email address will not be published. Required fields are marked *