HENRY AVIGNON'S work deals fundamentally with notions of “material desire.” This is exemplified by an urge to “document” signatures of energy in medias res when exemplify such modes of material desire. It is this “desire” approach energy on Nature’s terms that drove him from painting to PHOTOSCULPTING – The principle desire being to let go of a degree of subjective control in the work, to shift the paradigm of creativity from the masculine to a feminine nature: artist as conduit and incubator of externally oriented and catalyzed life energy rather than internally rooted projections of an individualized imaginary. To identify, interpret, translate and present artistic forces rather than create from the limiting material energy of just his own sources of poetic logic. Keeping with the photographic tradition that one need document a moment in time all images then represent captures of processes that are unfolding in time.
R U D I M E N T S O F THE P H O T O S C U L P T:
A photosculpt is the result of artisanal practices and approaches to traditional and non-traditional art mediums such as paint, wood, metal, glass, and fabrics. Photogenic environments are created to identify, interpret, translate and present signatures of energy—commonly interpreted as “objects” such as paintings, photographs, sculptures, architectural constructs, etc.—for the purpose of elaborating on fundamental and latent, essential fields of abstraction. A single photosculpt, capturing a moment of folding or unfolding energy, orders and/or reorders it regardless of the intensity of inherent chaos. Individual panels / fields are viewed as fertile components latent with a potential for actioning if situated in groups of similarly agitated panels. The artist’s greatest effort must be to direct / invigorate the vital environment of creative activity toward achieving docility, to a nexus point when each panel’s compositional values are conducive for interconnectivity and intertextualizing if graphed into a Grammaring Matrix.