‘I guess for me when I talk about sculpture as memorial I am not thinking about any particular iconography or process of continued remembrance or a way of keeping a memory alive, but a place to reflect and add context to a particular time within a person’s life. A means of definition, a way of using memory in order to understand our interaction with the now and potentially the future. In relation to my work, I like to explore this notion of memorial by trying to understand what I call ‘landmarks for the memory’ by this I mean what we chose to remember whether consciously and subconsciously and how that defines who we are as individuals. This maybe exploring the nostalgia and potency of a particular object and in many cases combining this with universal aspects of life such as death, something in everyone’s future. I am interested in the language that is developed through this process. An example of this would be ‘Some Kind Of Forgotten Bliss. 2017’ I am interested in how one thing can mean very different things to different people, so I guess I am interested in ideas of ‘schema’ and automatic thought, toying with representation of aspects personal to me against what is universal for all. (My Father's Heroes Are All Dead.2015)

 

What is interesting is in relation to the aspects of the digital age, which I have talked about is the idea of experience. We can experience things in many different ways in the modern age, we no longer have to be there and see things in front of our eyes. We can delve into different people’s situations and hear news from across the world at any time throughout our day. Virtual reality lets us dive into pools from our couches and walk through lands different from our own. We can see people in concert that aren’t even alive anymore! We can in some ways, distort our perceptions of time and in turn our own memory. This is interesting to me in relation to the future because of the concern that I try to explore within my work, that these experiences can be confused and linearage of time distorted. Within my work I explore ideas of ignorance being  an effect of this false experience. This is evident in works such as 'The Slacker' 2018, a bodiless pair of Foundry gloves pulling themselves across the gallery floor to be pinned by the weight of giant pearls so they can no longer move. Mounted with two small tongues wagging without a care in the world and their weight adding to the burden of the gloves. I am currently exploring this further by altering carefully chosen objects to reference particular times in the future, suggesting our need to change through the changing function of the object, removing in some cases its leisurely and holistic nature to become something still useful but something quite dark. (I Don't Want To Know About Evil. 2017)...’

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Richard Hughes .I Don’t Want To Know About Evil.   2017     Found object, Plaster, 2 part Epoxy Resin, Primer, Spray Paint, Unfired Clay, Metal rod.                                                420X170X250mm

Richard Hughes.I Don’t Want To Know About Evil. 2017

Found object, Plaster, 2 part Epoxy Resin, Primer, Spray Paint, Unfired Clay, Metal rod.                                                420X170X250mm

Richard Hughes. The Slacker. 2018 .

Richard Hughes

@richarddenehughes