Evan Penny - Commentary

Series #1: 2001 to 2005

Similarly formatted to the L. Faux pieces, but smaller in scale (one and one-half life-size), the No One – In Particular, Series #1 project is comprised of six sculpted images, in variations of three (or two, in one case), for a total of seventeen pieces.

The No One – In Particular series takes its cue from the photographic ‘head shot’ and our constant encounters with (depictions of) anonymous individuals in print media and television, and the ways we ‘project’ into them.

They are composite images derived from general observation. Some source information might have come from magazines, photographs, or passing street encounters, but the characters largely evolved from imagination through the sculpting process. Each piece is identical in size and (neutral) in gesture. Each of the six sculpted images derives directly from the preceding one—one sculpture reworked six times. The triangular geometry between eyes and mouth remains identical (with the exception of the sixth sculpted version, variations 10, 11 and 12) reinforcing a sense of the undifferentiated. Individuation or difference is played out largely in the style and dress of hair and costume, eye colour and complexion. Gender can shift within variations derived from the same sculpt (i.e. variations 2 and 3).

As portraits of people that don’t exist they are empty and without history, while simultaneously individualized. It is our expectations and projections onto them, the narratives and histories that complete them.

These works derive in idea from the photograph, and resolve in actuality in the photograph. Accompanying (same scale) photographs have been produced of these sculptures in order to highlight the idea.

Series #2: 2004-2007

No One – In Particular, Series #2 is similarly formatted to the series #1, but larger in scale (two times life-size). It is comprised of three sculpted images, in variations of three (plus one), comprising a total of nine pieces.

These works are more volumetric and nuanced in gesture than series #1. In this case, they start from a broad and general descriptive category: “Young”, “Old” and “Fat”. The challenge was to evolve the characters through the clay modelling process until they overcome cliché to become plausible, nuanced, individualized personalities.

These works derive in idea from the photograph, and resolve in actuality in the photograph. Accompanying (same scale) photographs have been produced of these sculptures in order to highlight the idea.

Evan Penny, 2011