enshrining the immaterial and the mundane in the permanent and
monumental material of marble. He presents a contradiction of factility
and physicality of marble by transforming it into a seemingly flexible object
that gives an illusion of plasticity. In a process of form following content,
the work is used to convey an idea that has been manifested within the
sculpture as an immortalized concrete statement. In his hands intricate
folds and creases of cloth are perfectly rendered in marble, concealing and
sometimes revealing the politics and obsessions of our period in history. An
artist working with his hands in a digital world, Seton is attracted to the
sensory and tactile power of materials, believing that works of art made by
the human hand hold deep emotions. He says that ‘’human engineering has
lost none of its magic or power to communicate.’’
After studying Art Theory and History, Seton based his practice on marble
carving, seeking out advice and practice with artists and teachers and working
alongside experienced carvers and artists in residencies and symposiums. He
says that the attraction was not only its incredible plasticity as a sculptural
medium, but also its loaded history; to intercede with those expectations
inherent to the medium and to engage current concerns in that dialogue.
He adds that there is certainly a satisfying sense of continuum with marble
carving; reclaiming the medium from the parameters and definitions of
the past. In his own words: ‘’The constant redefining of ourselves and
our relationship with the natural world is what makes human activity so
interesting.’’ He adds that he prefers artworks of long contemplation, and
abhors novelty: ‘’Novelty is a concept of commerce, not an aesthetic concept.’’
Working with m &&