“The term Anthropocene is meant to replace the commonly used geological epoch the Holocene (whole-new epoch). The Anthropocene (human-new epoch) represents a time period that started with humankind’s significant impact on Earth’s ecosystems and geology. That may be the advent of agriculture, industrial mining, nuclear weapons, or the profound human-caused problem of global warming, a problem philosopher Timothy Morton calls a “hyperobject,” or something too big to get our heads around. What is important about this renaming of the epoch is that it acknowledges humans as the central player impacting geologic and ecologic change.
For years I’ve been fascinated with what objects—and hyperobjects—can tell us about ourselves and the nature of being. How do they change us? What is it that makes us yell at the table when we stub our toe or hug a soft toy from our childhood? Do those objects become beings because we treat them as such? What happens when we gather objects into one space? How do they change one another? What metaphors can be drawn from the objects, and their relationship to one another and to us?
As you step into the space I encourage you to reflect. This can be literal, as in the case of mirrors, but also in a broader sense. You will literally see youself in the reflective surfaces, but you may also see yourself in the objects and shapes around you. They may be evocative of bodies, landscapes, memories you hold, or feelings that are difficult to articulate. These sculptural forms are meant to be at once familiar and alien. They are not direct illustrations or renderings. They are tipped over, exaggerated, or under-rendered versions of recognizable forms. In this way the objects become a means for investigating the certainty we have about the world around us and the categories we employ to sort it out.
This object landscape is an opportunity to orient oneself to the Anthropocene, a time when humankind has become, or at least perceives itself to be, the center of the world. But one might question whether humans really are the center and dominant force. Just as standing close to the mirrored reflection creates the illusion that you are the center of the visual space, so too do we falsely situate ourselves as the center of the universe. Yes, we have the power to destroy the world. But also, yes, the world will go on without us. Maybe that produces an unsettled feeling, one I believe we all experience as humans, that we are both powerful and irrelevant.” ⏤ Kelly
About the Artist: Steve Kelly b.1971 Is a sculptor and potter based in Wilmington, NC. His sculptures and installations center around such questions as what objects can tell us about who we are, how we relate to one another, and how we relate to our planet. In recent years Kelly’s work has centered around the intersection of global warming and ontology. His installations are often object collections that inspire philosophic dialogue. He teaches ceramics and the foundations of Art in his community and also leads workshops throughout the US and abroad. His work can be seen at numerous galleries and has been featured in Ceramics Monthly. He received his BFA from the University of Montana and his MFA from Maine College of Art and is currently an adjunct professor at the University of North Carolina Wilmington.
For years I’ve been fascinated with what objects—and hyperobjects—can tell us about ourselves and the nature of being. How do they change us? What is it that makes us yell at the table when we stub our toe or hug a soft toy from our childhood? Do those objects become beings because we treat them as such? What happens when we gather objects into one space? How do they change one another? What metaphors can be drawn from the objects, and their relationship to one another and to us?
As you step into the space I encourage you to reflect. This can be literal, as in the case of mirrors, but also in a broader sense. You will literally see youself in the reflective surfaces, but you may also see yourself in the objects and shapes around you. They may be evocative of bodies, landscapes, memories you hold, or feelings that are difficult to articulate. These sculptural forms are meant to be at once familiar and alien. They are not direct illustrations or renderings. They are tipped over, exaggerated, or under-rendered versions of recognizable forms. In this way the objects become a means for investigating the certainty we have about the world around us and the categories we employ to sort it out.
This object landscape is an opportunity to orient oneself to the Anthropocene, a time when humankind has become, or at least perceives itself to be, the center of the world. But one might question whether humans really are the center and dominant force. Just as standing close to the mirrored reflection creates the illusion that you are the center of the visual space, so too do we falsely situate ourselves as the center of the universe. Yes, we have the power to destroy the world. But also, yes, the world will go on without us. Maybe that produces an unsettled feeling, one I believe we all experience as humans, that we are both powerful and irrelevant.” ⏤ Kelly
About the Artist: Steve Kelly b.1971 Is a sculptor and potter based in Wilmington, NC. His sculptures and installations center around such questions as what objects can tell us about who we are, how we relate to one another, and how we relate to our planet. In recent years Kelly’s work has centered around the intersection of global warming and ontology. His installations are often object collections that inspire philosophic dialogue. He teaches ceramics and the foundations of Art in his community and also leads workshops throughout the US and abroad. His work can be seen at numerous galleries and has been featured in Ceramics Monthly. He received his BFA from the University of Montana and his MFA from Maine College of Art and is currently an adjunct professor at the University of North Carolina Wilmington.
