On appearances, there is something reliable about a sculptural object. This impression originates from the fact that, unlike other forms of art, sculpture overtly occupies the same spatial field as our bodies do; we can relate to it, inspect it from a multitude of viewpoints and get up close to it. It is there in the same persistent way as a kettle or a chair. And like other objects, by occupying an observable place, sculpture provides a spatial anchor that orients the body of the viewer. Sculpture emphasises a spatial presence and confers upon the viewer’s body a similar aura of stability. In a world characterised by technological and cultural flux, the promise of this stability is a welcome appellation for some, but for others it is site rich for sabotage.
James Angus is of the latter category. In his work, the scope of which is well demonstrated by his recent exhibition at Brisbane’s Institute of Modern Art, the illusion of sculpture’s spatial and material integrity is repeatedly called into question. Organised by the Museum of Contemporary Art in Sydney, this touring survey provides an overview of the past decade of Angus’s impressive sculptural output. In viewing this body of works, it becomes clear that for Angus it is the potential of sculpture to disorient that provides the chief impetus for his practice.
Angus’s sculpture uses a variety of forms and materials; exploring such conventional sculptural processes as plaster casting and cardboard construction while also utilising industrial production methods such as CAD software and digital prototyping. What unites the broad technical scope of his work, is a meticulous attention to detail. Angus’s surfaces are highly refined, betraying little evidence of