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Brad Orsburn

Seaside, CA 93955, U.S.A.
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Phone: 8317602758

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In studio practice I am exploring the individualization of the multiple. My early art making was grounded in printmaking which transitioned to sculpture. The multiple has been a part of mankind throughout the ages. Previous to printing and the industrial revolution the multiple was somewhat limited.

Today an assemblage of specified, mass produced, cloned parts becomes a machine, domestic device. We engage with these mechanisms daily in our contemporary lives. Some take the form of bicycles, automobiles, computers, appliances, cell phones… They are duplicated and distributed in a seemingly unlimited supply. 

How can a duplication machine be used to make an extraordinary singular art object?

There is an array of duplication machines available to the maker. One example is the wood lathe, which is used to mass-produce everyday items such as: columns, bowls, stair spindles, baseball bats, bowling pins etc…  

Currently I am using the traditional/manual wood lathe to produce singular, non-specific/ambiguous objects.  These objects are then used as “master shapes” in another method of duplication: molds & casting. Next the cast pieces return to their machine of origin, the lathe, and are transformed once again by the hand of the maker. This process is repeated many times over generating an inventory of singular shapes from which an array of exclusive, conceptual assemblages and compositions take place.

What takes place when that singular art object (born from contemporary duplication) is combined with others of similar or dissimilar ancestry?  Can they engage in dialogue with one another and the viewer?

As mentioned above the inventory of singular objects generated from the lathe and castings remain singular or are combined as assemblages. When they are placed in familial relationship with one another the viewer becomes engaged. Scale, hierarchy, shape, color, and personal human emotion prompt this connection. Most importantly, my work intends to inspire thought, cultivate dialogue, and appeal to (the affections of) the human imagination.

The work is vaguely grounded in theoretical, figurative abstraction. I look for avenues that suggest past, present and future motion. I.E. wheels, spheres, liquids, molten substances, text… These works often segregate and blend motion in a suggested or real context. While posing the notion of movement, I find that an inherent grace and subtle humor often surfaces in the work.