Martin Selman’s Sculpture explores the possibilities of marble as a contemporary medium.
With his tender renderings of quirky subjects, Selman transforms the 'everyday' nature of contemporary objects, while challenging the initial aesthetic assumptions of the viewer. His pieces appear paradoxical, contrasting notions of softness and hardness; matt and shine; the ethereal and the monumental.
Famous for its use in Renaissance statuary, Carrara marble immediately connotes the idealised monumental figures of Pagan mythology. Selman's new work references this tradition of naturalism in sculpture while simultaneously challenging art historical presumptions of what 'should' be chosen as a subject for marble sculpture.
Selman takes as his subject matter domestic, everyday items, fashioning the hard, unresponsive material into objects of softness and seduction. The objects are faithfully rendered from life, with folds, compressions and indentations adding to their illusory effect. However, the artist smoothes away identifying details and adopts a playful approach to scale, with some small objects rendered in monumental sizes. Thus, the objects become emblematic rather than strictly representational, especially when combined with the consistent surface properties of the marble.
Marble is a precious material in itself, taking millions of years to form. The intricate and meticulous carving over long periods required in Selman's works testify to his awareness of the precious nature of his material. He also explores the weight of art historical references attached to the medium with the classical nature in works such as Fold I and II which depict the fabric folds famously rendered in ancient statuary.
Selman’s transformations of the most 'ordinary' objects of our time into fine art works (pieces such as such as Lock, Orange Container and Pouffe) are made possible by his deep knowledge of the properties of marble and the classical traditions of sculpture. However, his choice of familiar, vernacular subject matter develops a poignant and highly symbolic reflection of his own identity as a New Zealand contemporary artist.
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