The Centurions convey introspection and reflection. Idiosyncratic and anthropomorphic as a group, they have a cubist or even surrealist sensibility: stoic figures marking a transition in time between millennia.

Centurions

The Centurions convey introspection and reflection. Idiosyncratic and anthropomorphic as a group, they have a cubist or even surrealist sensibility: stoic figures marking a transition in time between millennia. At once awkward, humorous, archaic and stately, they are “more slowly wrought because they emerge from materials with a more inherent history (wheels, tools, implement parts and such), often bolted together.”[i] The age and richly patinated surfaces of recycled clusters of copper tubes from heat exchangers and brass plates with raised cruciform shapes (originally embedded in concrete as supports for old machinery) encourage a symbolic reading. Dark into Light, for example, is constructed of concentric sleeves of brass placed on an early-twentieth century cast bronze chandelier with egg-and-dart and acanthus leaf moulding. Resembling an inverted classical column, this work reinforces a connection to architecture and to the past, a leitmotif of Resonance. Its title references liminality and light as a signifier of knowledge; as one looks into the sculpture, dramatic contrasts of light and shadow appear, elusive, smouldering off the surfaces of brass and lead solder knifed onto the circle of the innermost cylinder. This flowing, evocative, liquid sense of light imparts an ethereal and otherworldly quality to the work that immerses the viewer in a childlike rapture of imagination.

Excerpt, Dan Ring, exhibition catalogue, Resonance, Mendel Art Gallery, 2004


[i] Bentham to Ring, April, 2004.

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