naming sculpture

Naming sculpture seems a curious convention which is unnecessary, but provides a cerebral relief to 'all that looking' for the sculptor.

Names are another supporting entrance for the viewer, albeit non-visual. As such, my own naming often ties in the 'place' of where a work has been made or the material sourced, for no other reason than it may have more local relevance - a sense of place - to some. If a name creates some avenue for visual (or other sensory) inquisitiveness, then that is good enough for me.

The play on words might be multi-layered like a crossword clue; Wight Man has its geographical suggestion and also alludes to other interpretations of the same pronounciation, in playful banter. I find that work quite primeval in its surveying for danger on some horizon, in the vein of Cave Man or those named examples preserved in artic wastes or pickled bogs, from early geography lessons.

There are a few bible references - Adam and Jonah spring to mind - which are there for that Tome's pure good storytelling. Adam was named as the forms started to yield both man and snake, late in carving. The Jonah piece has a curious link between figure and a whale-like form which again emerged gradually.