Patrick Marold | Astula

Artist Statement

Astula
Astula presents a collection of works that span over a decade, introducing momentary to extended statements in my studio practice. In some of the sculptures, as with Dual Arcs, there are gestures in the cuts to the wood, balanced by seasons, allowing the forms to establish their own skin. Other works are direct assertions of control, like the poised Bright Island, or the Red Fan that segments the shadows and color accordingly.

These works, primarily in wood, explore my impulses to shape and isolate light while manipulating the inherent energy of the material, once part of a living tree. Even the charcoal drawings employ the integrity of wood.

Much of my work as an artist explores our relationships with scale in the landscape, while these pieces exhibit transient phrases from the workshop, likely to evolve.


Bio
Patrick Marold, has been working for over 20 years to bind the physical environment with our perceptions through enhanced systems of space and form. Since earning a BFA from Rhode Island School of Design in 1997, his artistic development has maintained an intimate connection to landscape, extending the environmental traditions unique to post-minimalism.

Refinement of his practice has been pursued in various locations in America and abroad, including opportunities like that of his 2000 Fulbright Fellowship in Iceland where he began to more fully utilize spatial dynamics to generate an enhanced understanding of light and movement. Exhibiting widely in galleries and museums, he has earned multiple awards and recognition for his studio works as well as his publicly sited projects. In 2007, Marold received international attention for The Windmill Project, a temporary landscape installation in Vail, Colorado, which seeded a local valley with a mass of light-generating turbines committed to capturing and visualizing the choreography of the wind through a unique landscape. In the last decade he has completed numerous public commissions including the award winning seven-acre installation, Shadow Array, at Denver International Airport, as well as a sky and sound work, Solar Drones, located in Calgary’s National Music Centre. Most recently, he completed a large stainless steel landscape sculpture at Dallas Love Field airport that invites the public to walk among and navigate wanting lines of reflected light. His latest public work, Sun Silo, will open to the public at Lowry’s Boulevard One community park in East Denver this summer.

Diversity in setting, scale, and technical realization have equipped the artist with the capability to apply his vision across a broad range of sites while preserving a unity of vision. Marold maintains a studio in Colorado and continues working towards inviting the viewer to consider new orientations of landscape, materials, physical forces, and their impact on personal and communal perception.

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