Dan Molyneux

Of the three assumptions I make about my current work, the first is that geometry is innately recognizable to us, and that we have a natural affinity for elemental form. Like perennial philosophies, fundamental root concepts that trickle down through history, every civilization has used combinations of elemental shapes to represent or symbolize script, music, belief systems, mathematics, science, and art. In my recent exhibition, Integer, I have generated sculptures based on combinations of elemental shapes; hoping that the work resonates by way of its formal qualities.
Secondly, I like to imagine that most forms derive from variants of the sphere and cube. A seemingly endless amount of combinations and derivations of those elemental forms go on to include more and more complex dimensional analogues, i.e., cones, cylinders, cuboids, tori, etc. and may convey a sense of the universal, a sensibility that endures over time. Working with elemental form, I find it difficult to place a historical context or timeline on this work because it is so fundamental to the human experience.
Through the language of form, my instinct is to continue fetching inspiration from the pre-language source of consciousness, where the qualities of the human spirit that aren’t so easily articulated by language seem to dwell. In a way, this harks back to my background in linguistics and anthropology, and indicates that I’ve merely exchanged the tools I use to communicate from characters to form. I can’t express in words exactly what is being conveyed, but I know it comes from a genuine place, and that my question to the viewer is, to what extent do these forms resonate?