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In 2002, Hobart based sculptor Colin Langridge curated Clearing, an exhibition of emerging Tasmanian artists at CAST Gallery. Langridge lifted the term 'clearing' from a theory used by German philosopher Martin Heidegger to describe the process of stripping back cultural and symbolic meaning to reveal the true nature of an object. The show was a curatorial success and Langridge went on to explore similar themes in his own work.
Currently a PhD candidate at the Tasmanian School of Art, Langridge explores the essence of constructed objects in an attempt to dissect notions of physical truth-unhindered by the constraints of language and thought. Working with the traditional technique of steam bending, Langridge manipulates the resistant surface of wood to create meticulously assembled and organically fluid forms that border on the abstract. 'The urge to render artworks symbolic reveals our desire to bring them into the fold of our understanding', Langridge says. 'My artworks attempt to resist this transformation and assert their being as what they are.
The urge to heap layers of meaning onto an unfamiliar object, particularly an artwork, can be difficult to leave behind at the door. In the 2004 solo exhibition 'Snug', Langridge showed a selection of work that begged to be symbolically undressed. Strange wooden forms dangled from the ceiling and erotically charged wall mounts tempted the viewer to penetrate mystery and determine the reason for their being.
The bulbous curves and smooth wooden paneling of Things that you don't know 2004, immediately enticed the viewer into the middle of the gallery. Reminiscent of a fantastical zeppelin, Things that you don't know was suspended by wire from the ceiling, a method that allowed the solid form to