Good Life



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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