Matthew Van Harten

Artist Catalogue

Virtual Exhibition

Forgotten Hērōs

The human figure has held prominence in the canon of art history. Whether one examines art through the lens of the Western canon, or by anthropological, artistic depictions, it is evident that the human form is a deeply rooted aspect within the visual arts landscape. I use the symbolic meanings behind sculptural busts and examine the ways in which the creation of sculptural works adds to the narrative of peoples and how it can give voice to forgotten and lost histories while undermining set notions of power and superiority.

In the history of sculpture, busts stand as a representation of power, wealth, wisdom, youth, vitality and esteem of the notable persons of a culture they are created under. These representations are accomplished through the use of idealised ratios, and proportions, with a focus on specific details and attributes that reflect the cultural values and beliefs of the peoples that created them. Ever changing and never remaining stagnant. Culture and narratives are constantly shifting through time - whether it be from war, conquest, or revolution. During the Era of colonial expansion, the world views of the European colonisers were asserted over the conquered and subjugated peoples. In the process, they overshadowed and, in many cases, eradicated the culture and stories held by the native populations. Stories that were passed down over generations. Colonial expansion left the stories of the colonised lost and forgotten to time—attempts to unearth them left with much mystery.

The busts I have created speak to the forgotten and lost history. Many representative qualities that one would find in traditional and conventional busts are stripped away, with emphasis placed on other features of the busts. It aims to depict how people try to hold onto or emphasise certain aspects of their culture while simultaneously not having the full picture and understanding of what their culture originally was before being colonised. Some of the works are dynamic, with indications of motion built into the form or implied by the geometric shapes in each work. In Western classical busts, the head is often shown as static. They represent a snapshot in time and could be seen to represent a stagnated worldview. The motion suggested in the busts that I’ve made refers to how narratives and cultures are everchanging and evolving. Even though they are bound in a static sculpture, they do not want to remain still.

The process of making the work is an integral part, acting as a reflection of how narratives and culture are formed. My works are built up – unlike traditional marble sculptures that are formed by carving away from a slab of marble. They are created through a combination of technique and material working together to form the final image. The materials used in these works were Crete stone, wood and ceramic clay. Each possesses its own required set of techniques and capacity for creating forms. Presenting my own sculptures in the same manner as Classical busts on white plinths, I hope that they will give the forgotten narratives these works embody the same allusion of power and esteem. Upon viewing the work, the viewer may not recognise the “human” element in the sculpture at first. The longer they look, however, the more their minds might attempt to decode the structure before them until they recognise the figurative qualities within it.