My work tends to lead me into other cultures, they are private cultures made mostly of my interior space. These are “thought things” as argued by philosopher Hannah Arendt about works of art. I’m creating objects to tell a new story about cosmology, the way the ancients of North America, the British Isles and the Oceanic areas tracked the cosmos and told stories of the stars. I am exploring blending contemporary concerns with what I see as related structures and ideas from the earliest days of civilization. Among these concerns and interests are: the timeless mystery of the ruins and artifacts of the ancients and cosmology of the modern era. It is my struggle to reconcile these disparate but fundamentally related forces, which have influenced and continue to fuel my present work. In part I approach this by maintaining close human contact with the materials I use. I’m working with tactile issues that are imbued with a powerful and primal sensitivity.
My work tends to lead me into other cultures, they are private cultures made mostly of my interior space. These are “thought things” as argued by philosopher Hannah Arendt about works of art. I’m creating objects to tell a new story about cosmology, the way the ancients of North America, the British Isles and the Oceanic areas tracked the cosmos and told stories of the stars. I am exploring blending contemporary concerns with what I see as related structures and ideas from the earliest days of civilization. Among these concerns and interests are: the timeless mystery of the ruins and artifacts of the ancients and cosmology of the modern era. It is my struggle to reconcile these disparate but fundamentally related forces, which have influenced and continue to fuel my present work. In part I approach this by maintaining close human contact with the materials I use. I’m working with tactile issues that are imbued with a powerful and primal sensitivity.
John Hylton
John Hylton
