Chequered Buddha
SKU:
£1,600.00
£1,600.00
per item
DimensionsÂ
Price does not include post and packaging, once purchased please contact - mattfscp@gmail.com to arrange and pay for delivery.  If you are interested but not quite sold and require more information (pictures, dimensions, material etc.) before purchasing then contact the above email address and we will do our best to source this for you.
*If after 30 days you are unsatisfied with your purchase you will be entitled to a 90% percent refund of the retail price.  Neither the delivery from storage or back to storage would be refunded.
- Width - 37 cm (at widest point)
- Height - 54 cm
Price does not include post and packaging, once purchased please contact - mattfscp@gmail.com to arrange and pay for delivery.  If you are interested but not quite sold and require more information (pictures, dimensions, material etc.) before purchasing then contact the above email address and we will do our best to source this for you.
*If after 30 days you are unsatisfied with your purchase you will be entitled to a 90% percent refund of the retail price.  Neither the delivery from storage or back to storage would be refunded.
Robert Mach
I N S P I R E D
Inspired: 'Chequered Buddha'
- FSCP: 'I've heard you mention that the chequered Buddha was somewhat of a departure for you in terms of your traditional method of creation, would you be able to elaborate on this?'
'Usually when I make a foil sculpture I use a found object. That object may be foiled as it is, or altered in some way, elements added or removed, or become part of an assemblage with other objects. This Buddha however was modelled, cast in plaster, sealed and then foiled. Thus it was made in a more ‘traditional’ manner and as a result it seems to me to be more peculiar than my other work. I’m not entirely sure why I have that feeling about it but I always look at it differently.'
- FSCP: 'Although distinct in its appearance it is clear to the observer viewing it in its finished form that it fits nicely alongside your other work, I think this is probably because no matter how varied the shape/design of the piece in question foil is always present.'
'Yes I would agree, it definitely allows for a certain consistency to exist across my work and also enables a freedom for myself as a creator as I feel I can branch out whilst still retaining my style. During the making of the chequered Buddha I was challenged by the obvious gravity of covering such a uniquely shaped object, in doing so it brought home to me the versatility and strength of foil as a material. You can cover flat surfaces, rounded areas or scrunch and force it into all manner of awkward shapes and crevices and it still retains its identity.'
- FSCP: 'You mention the challenge you faced in covering the Buddha, would you be able to give us more of an idea of how you did this and why it was so challenging?'
'When I started on the chequerboard pattern I began by attaching a few wrappers on a nice flat area of the face. I thought, this’ll be easy, but as I moved around the Buddha's head the lines started to go wonky and move off in crazy unexpected ways, that was when I realised that this would be much harder than I first realised. In the end it was the combination of persistence on my part and the versatility of the material that allowed me to keep the order in the pattern.'
- FSCP: 'I've heard you mention that the chequered Buddha was somewhat of a departure for you in terms of your traditional method of creation, would you be able to elaborate on this?'
'Usually when I make a foil sculpture I use a found object. That object may be foiled as it is, or altered in some way, elements added or removed, or become part of an assemblage with other objects. This Buddha however was modelled, cast in plaster, sealed and then foiled. Thus it was made in a more ‘traditional’ manner and as a result it seems to me to be more peculiar than my other work. I’m not entirely sure why I have that feeling about it but I always look at it differently.'
- FSCP: 'Although distinct in its appearance it is clear to the observer viewing it in its finished form that it fits nicely alongside your other work, I think this is probably because no matter how varied the shape/design of the piece in question foil is always present.'
'Yes I would agree, it definitely allows for a certain consistency to exist across my work and also enables a freedom for myself as a creator as I feel I can branch out whilst still retaining my style. During the making of the chequered Buddha I was challenged by the obvious gravity of covering such a uniquely shaped object, in doing so it brought home to me the versatility and strength of foil as a material. You can cover flat surfaces, rounded areas or scrunch and force it into all manner of awkward shapes and crevices and it still retains its identity.'
- FSCP: 'You mention the challenge you faced in covering the Buddha, would you be able to give us more of an idea of how you did this and why it was so challenging?'
'When I started on the chequerboard pattern I began by attaching a few wrappers on a nice flat area of the face. I thought, this’ll be easy, but as I moved around the Buddha's head the lines started to go wonky and move off in crazy unexpected ways, that was when I realised that this would be much harder than I first realised. In the end it was the combination of persistence on my part and the versatility of the material that allowed me to keep the order in the pattern.'
I N S P I R E D
