Good Life

DIMENSIONAL DISPOSITION

DIMENSIONAL DISPOSITION

The answer to the question— is it easy to juxtapose nature with the language of 3D and 2D drawings convincingly lies in Arran Gregory’s line of work. Part-art, partsculpture, the meticulous maverick, creates a visual parenthesis that depicts a man’s relationship with nature and the myriad emotions it triggers.

 

You say your work is a battle between maximalism and minimalism. What do you mean by this?

My work has always had an element of balance to it. These days, I find myself focusing less on detail, and the emphasis is more on reduction. I try to communicate through simplicity, without compromising on the expression of a piece. This usually results in taking away rather than adding. Earlier, I used to centre much more on adding.

Nature, and the emotion it evokes in human beings, is a theme prevalent in your works. What is it about nature that so inspires you?

I love the idea that we are animals ourselves. We are a part of nature; although at the same time, we have a lack of understanding for it. Perhaps, not so much, a lack of understanding, but more that we are out of sync–like there’s a strange distance, we have created between ‘us and it’. I derive an energy from exploring this, which channels into my work.

Your work heavily features geometrical shapes and sharp architectural lines.

I think, as humans, we have an obsession with structuring everything as a way of understanding it easier. When you look at buildings in a city or fly over farms and roads—everything is so gridded and mathematical. It’s the way, we think and see. When you look towards nature or a forest for example, everything is so squiggly and irregular. It’s still mathematical to an extent, but it’s not so easy to digest. I suppose, I enjoy playing with the two opposites by re-aligning the squiggly into a more linear format. My drawings now reflect my sculptures and vice-versa; it’s a way of thinking that has developed due to organically having studied graphic design.

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