Tom Joyce: Everything at Hand
Tom Joyce: Everything at Hand continues Joyce鈥檚 explorations of iron as a profoundly symbolic material whose regenerative matter, aesthetic malleability, and cultural meaning resonate locally and globally at the deepest levels of history and contemporary life. Stretching from CCA鈥檚 Tank Garage to its new outdoor sculpture garden, the exhibition features new works by Joyce influenced by his many years of working with industrially forged remnants and byproducts of large scale manufacturing. In addition to forged and cast iron sculpture, the show highlights iron-inspired photography, video, charred drawings and mixed media installations, including experimental bodies of work in materials newly utilized by Joyce.
鈥淚nitiated by mining everything within reach in my studio and in my experience, these works relate to the tools at hand that have shaped my world, and to the tools of industry that now influence it,鈥� Joyce says. 鈥淚t鈥檚 about what methods continue to hold relevance, what I move away from, and what the current work is gravitating toward.鈥�
In Everything at Hand, Joyce delves deeper into several alternate directions in his work鈥攕caling up and down the size of signature sculptures; reinterpreting tools from his studio with cutting-edge technologies; and experimenting with new materials and processes that further his ongoing investigation of all aspects of iron. The resulting works of art, Joyce says, represent the extremes of his exploration to date鈥攔anging from the smallest to largest; lightest to heaviest; most fragile to the strongest; most porous to most dense; most ephemeral to most permanent; most translucent to most opaque; and most colorless to colorful.
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Tom Joyce: Everything at Hand continues Joyce鈥檚 explorations of iron as a profoundly symbolic material whose regenerative matter, aesthetic malleability, and cultural meaning resonate locally and globally at the deepest levels of history and contemporary life. Stretching from CCA鈥檚 Tank Garage to its new outdoor sculpture garden, the exhibition features new works by Joyce influenced by his many years of working with industrially forged remnants and byproducts of large scale manufacturing. In addition to forged and cast iron sculpture, the show highlights iron-inspired photography, video, charred drawings and mixed media installations, including experimental bodies of work in materials newly utilized by Joyce.
鈥淚nitiated by mining everything within reach in my studio and in my experience, these works relate to the tools at hand that have shaped my world, and to the tools of industry that now influence it,鈥� Joyce says. 鈥淚t鈥檚 about what methods continue to hold relevance, what I move away from, and what the current work is gravitating toward.鈥�
In Everything at Hand, Joyce delves deeper into several alternate directions in his work鈥攕caling up and down the size of signature sculptures; reinterpreting tools from his studio with cutting-edge technologies; and experimenting with new materials and processes that further his ongoing investigation of all aspects of iron. The resulting works of art, Joyce says, represent the extremes of his exploration to date鈥攔anging from the smallest to largest; lightest to heaviest; most fragile to the strongest; most porous to most dense; most ephemeral to most permanent; most translucent to most opaque; and most colorless to colorful.
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