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JH: So now your background in biology and nature conservation really informs a lot of what you do in your sculptural practice, right? PF: Yeah, absolutely – I think we’re all influenced by a combination of things – our experience over time. The connection with nature for me has been a major influence. I’m fascinated by forms in nature both at the micro and macro scale. Not necessarily the detail and anatomical parts, although I was fascinated with that for a number of years. I’m now more interested in how everything is connected and how we are all connected.
JH: How so, Pat? PF: In forms in nature – seeing patterns – how things actually connect and interconnect. I relate that back to the things I do in my other profession – how people connect. I work that out in my own mind in a different kind of language.
JH: So in many ways form really is the major aspect of how you work in sculpture? PF: Absolutely.
JH: So we could call you a formalist in many senses? PF: Yeah, I would say that. I do both, build things up from clay and explore forms that way and also directly from material – finding out what’s inside that form.
JH: You have been working in this way for 30 years or so – what kind of changes have you gone through from when you first started working to where you are right now? PF: Technically I would say it took me ten years to become proficient. But in terms of the technical aspect, for me personally, I am at a maturing phase where everything seems
to center around how I explore things both intellectually and emotionally – so my sculpture is becoming more and more abstract all the time.
JH: So you’ve moved from an approach where you observed and transformed natural forms to a place where you’ve become almost entirely abstract? PF: Yes, I went from very crude things to more anatomical correct pieces to stylized pieces into abstract. And now my pieces are more about how my thoughts interact with how we are connected with nature and how nature connects with us and the cosmos – how everything is interconnected.
JH: I’ve spoken with you before about the methods that we use as we grow older as sculptors and I know you’ve taken quite a different approach than most people in terms of manifestation of the sculptural ideas you have – can you tell me a bit about that? PF: I’m much more interested in the design aspects in terms of getting the ideas realized. And then of course I have to touch everything. But I don’t have to do all the work so I love collaborative projects and I am working with an art school in Vietnam that helps me realise my pieces. I go over and exchange ideas and technology and tools and in exchange for that I get some labour back. I create relationships and connections to people around the world. It’s been fascinating for me to be able to learn and train at the same time.
JH: How would that actually work in terms of conception to finished pieces? PF: If I’m designing something for example – if I do something out of clay or a maquette for bronze, I can take it over there and get it scaled
Toungue Tied >
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