It is fair and reasonable the work of the Sydney School is not overtly embraced by the culture.
It runs against most trends towards the ephemeral, towards equal representation, towards space saving, and that which is easily and inexpensively transported.
The pleasure for the sculptor lies in the making of the work and the opportunity to show what is made. To be part of the dialogue, to be in the discussion is everything. It is the wealth of the society which allows the sculptors to be their own patrons.
This writer had for many years the hope for a different success. This led to disappointment and fatigue. Prizes afforded to other disciplines, such as sales and wider exposure were not available to the sculptor, in the majority of cases.
The reality is that most sculptors within the SSS are male and white with a history of privilege out of balance with the community. The alpha male was given free reign for some time, the outcome of which is currently evident. The old front of the queue is the new back of the queue.
We had imagined patience would provide some sustenance eventually however all patience is a form of impatience and is delusional and had to be handed over, with the other privileges.
The material of choice, steel, stakes a claim for durability however, over time, steel has proved to be ephemeral. Its ‘durability’ was a guise, and a long time proved to be short.
These issues have been brought to light this week by council closing down this writer’s Balmain workshop, when ‘residential’ needs overrode the sculptor’s presence.
This experience of resistance is an extension of the the material’s nature and comes as no surprise.
This is not a lament. This is a song of triumph.