philip darnton
Philip Darnton, an emerging artist, navigates the intersection of art and architecture, drawing from the diversity of both disciplines. As a recent graduate of the Masters in Architecture program at the Abedian School of Architecture, Bond University, his artistic practice unfolds as a exploration of the fusion between these two realms of creative expression. Architecture often serves as the physical manifestation of framework. Light and space form the foundational elements of his practice, intricately woven with carefully chosen materials and processes, where each constituent part contributes to a larger narrative. Beyond the confines of conventional artistic boundaries, the work extends into the realm of large-scale installations, responding to site-specific nuances and contextual intricacies. His artistic repertoire reflects a balance between the conceptual and the tangible, inviting viewers into a world where every detail plays a vital role in the broader artistic narrative.
To acknowledge the passage of time through light and sound. Heightening one’s awareness to the ocean, the sky, and the waves susurration. An immersive experience, that quietly bears the weight of a profound message.
I swallow coasts and shores with ease,
a rising threat that will not cease.
In warming oceans is where I rise,
can you unveil my watery guise?
Ascending swiftly as years roll past,
spoken warnings, is this the last?
For now, it’s time to heed the deep blue,
you may deny it, but I’ll show you.
Can you describe your creative process from concept to completion?
Its a lot of drawings, mostly sketches but I churn out hundreds of them, sometimes ideas, small details, materials, but all the designing is done by hand. Often scale models are made in conjunction to drawings, to get a feel for the space in three dimensions or to test construction systems. Site visits are important, I like to go back during different times of the day to get a feeling for how the light changes and visiting during different weather conditions. Taking photographs during these visits is important because it provides a clear reference and feel for things. I try not to touch the computer until I have a clear idea of what I am doing with scale drawings on paper in hand and then the dimensions get refined on the computer. Sometimes in conjunction to the plans and sections I make digital collages with photographs, bits of drawings, just superimposing things to provoke ideas.
Where do you look for inspiration? What themes do you find most interesting?
This project was a response to a painting that I have loved nearly all my life: Rooms By The Sea by Edward Hopper. I have always loved this painting, it has beautiful natural light and calmness juxtaposed to the imposing aspect of the incoming tide seemingly right on the front door step. I also draw inspiration from books, even films, in fact the conceptual aspect came from the Christopher Nolan film Inception, where the architect of the dream sequence is able to manipulate physics which led to the idea of the mirror. Even the name Limbo, which was a realm of memories where one risked getting trapped, where crumbling skyscrapers were battered by the incoming tides, it gave a bleak apocalyptic view of the future that is most profound. I also look to architecture projects and other sculptural installations, this can be in the form of concepts, distillation of ideas, execution, construction techniques, installation techniques, material palettes, natural lighting, artificial lighting. Below is a list of the most relevant examples for this particular project: Mount Tindaya by Eduardo Chillida (Unbuilt), Viewfinder by Joel Adler, James Turrell’s Skyspaces and other light installations, Dovecote Studio by Harworth Thompkins, Shelter for Roman Ruins by Peter Zumthor and Broken Camp by Atelier Luke.
What role does location or environment play in your sculptures?
Location and environment play a massive role, a great deal of my work is site specific, I would like to think it could work on any site but I suppose the point here is that it was designed specifically for that particular site. So much thought goes into everything, so much love and care. The Currumbin beach site is so distinct and rich in beauty in its own right that the sculptures are just the final touch, it truly is the most amazing place to exhibit art.
How do you feel when you see people interacting with your sculptures?
Definitely a feeling of warmness, watching the audience engagement and participation is the greatest compliment as an artist because you have successfully grasped their attention and are directly impacting upon their lives. There is always an interactive aspect to my work, I want it to always feel welcoming rather than being exclusive and even if you leave not understanding why, hopefully you leave with some form of interpretation and a positive memory of the experience.
Describe your dream project.
I think my dream project would be one with a decent budget, so that I can fully deep dive into making something out of really amazing materials. There is a magical aspect to scavenging for recycled materials and finding alternate ways of doing things, that is definitely a strong part of my creative process and remains a positive aspect of the work but can make the process much harder. Overall I do not have a specific dream project, my goal is to treat every project I get given from now on as a dream project. I would love to install a piece in the grounds at Hota, something site specific and permanent.
Instagram @phil_darnton
Come and see for yourself at SWELL Sculpture Festival, Pacific Parade, Currumbin 6th – 15th September.