the pdf - Peter Glenn Oakley

Peter Glenn
Oakley
in
Marble
Peter Glenn Oakley — In Marble
Table Of Contents
Peter Glenn Oakley — In Marble
Take Out Box
Soap Bars
Egg Carton
Other Works
Works In Progress
It is really my act of looking
that opens these objects up
for others to see them.
Peter Glenn Oakley — In Marble
The theme throughout my work is the juxtaposition of the historical use of
marble to portray the ideal form, and my use of marble showing non-forms.
Large Take Out Box (Open)
Take out Box
fig. 1
Peter Glenn Oakley — In Marble
Vanishing forms, or non-formal objects that, placed in this new context, are
suddenly recognized for their formal loveliness, which has lain hidden somehow.
The trompe l’oeil aspect only serves to faithfully bring the original form along.
Small Take Out Box
fig. 2
Peter Glenn Oakley — In Marble
Medium Take Out Box
fig. 3
The execution in marble also serves to prove I have studied
this non-formal thing formally, and convinces the viewer to
now see this thing that was basically invisible before. fig. 4
Large Take Out Box (top)
Peter Glenn Oakley — In Marble
fig. 4
Large Take Out Box (bottom)
By non-form, I mean an object that is common among us, but is
never looked at as a form; not appreciated. Just taken for granted.
Lava Soap Bar
Soap Bars
fig. 5
Peter Glenn Oakley — In Marble
You can imagine someone suddenly holding up a white styrofoam
cheeseburger box at the table and saying, ‘Look at this fucking
thing. It is beautiful,’ and now everyone looks at it for a moment.
Dove Soap Bar
fig. 6
Peter Glenn Oakley — In Marble
fig. 6
Dove Soap Bar
Something Beaudrillardish happens in that moment,
because now there is this beautiful thing, divorced
from all context, that was created in that instant. Soap Bar
Soap Bar
fig. 7
Peter Glenn Oakley — In Marble
fig. 7
It still looks like all the others, but now bears no
relation to the others and stands utterly alone.
Caress Soap Bar
Peter Glenn Oakley — In Marble
fig. 8
Caress Soap Bar
fig. 8
The anthropomorphism in these forms is my new interest.
Egg Carton
Egg Carton
fig. 9
Peter Glenn Oakley — In Marble
I do think these pieces have a solid conceptual framework,
but as I look at them now and especially at my current
model (stack, fig. 12), all I see are robot monster faces.
Egg Carton (top)
fig. 9
Peter Glenn Oakley — In Marble
Egg Carton (bottom)
fig. 9
Eyes and mouth, eyes and mouth.
Other Works
Typewriter
Peter Glenn Oakley — In Marble
fig. 10
Other Works
The egg carton (fig. 9) was the first
one I approached with that in mind
beforehand. Self-portrait, even.
Peter Glenn Oakley — In Marble
fig. 11
Chinese Take Out
Work in Progress
There is an obvious face in the egg carton front
view, and a subtler face on each end of the piece.
Peter Glenn Oakley — In Marble
Take Out Stack
fig. 12
It expands on the juvenile image I’ve always had of a devil on
one shoulder and an angel on the other, giving conflicting advice. fig. 12
Peter Glenn Oakley — In Marble
Take Out Stack
Take Out Stack
fig. 12
The missile disappears instantly, just as it does its job, leaving only its effect.
fig. 13
fig. 13
Missle
Peter Glenn Oakley — In Marble
Missle
All works copyright 2011 Peter Glenn Oakley.
Text copyright 2011 Peter Glenn Oakley.
[email protected]
Fig. 1: Marble, 2009. Collection: Lawrence Wheeler, Raleigh, NC.
Fig. 2: Marble, 2007. Collection: Saul and Nan Chase, Asheville NC.
Fig. 3: Marble, 2008. Collection: Gregory Smith, Matney, NC.
Fig. 4: Marble, 2009. Collection: Jon Ward, Ft Pierce, FL.
Fig. 9: Marble, 2011. Collection: Allen Thomas, Raleigh, NC.
Fig. 10: Marble, 2009. Collection: Allen Thomas, Raleigh, NC.
Fig. 11: Marble and stainless steel, 2008. Collection: Chris Clark, Banner Elk, NC.
Design copyright Michael P. Toussaint
[email protected]
Peter Glenn Oakley — In Marble