RE: Alisdair Sheperd
Since finishing my degree in Fine Art at Winchester School of Art (University of Southampton) I have worked in various different mediums including Fine Art; painting, sculpture, drawing, graphic design, illustration, web design, photography, film, curating, interior design, furniture design, project management, brand development, media, marketing and music, weaving a quiver of skills and experience along the way. 40Leaves is a unique platform for you to explore of some recent solo and group projects I’m involved with,
Future Fossils has been created in direct relation to exploring the sedimentary and fossil exhibits of the museum. I am interested in and amused by querying what the human race in many thousands of years might make of the fossils that will eventually be created from the debris of our contemporary life. We look back in time through the remains of Jurassic creatures encased in limestone or the scraps of ceramic pots and tools left by the Saxons but how will the future generations judge us by our preserved debris.
The sculptures displayed curiously mock the content of contemporary living by putting it into the perspective of future observers and question with reservation the actions our ‘throwaway’ society.
A continuation of my investigations and development, Future Fossils takes my work away from 2d imagery and into sculptural form. Made from concrete as a casting medium and scraps of human detritus, the use of concrete and human made objects is akin to my work on paper where focus is drawn to the use of naturally formed elements and abstraction. The same is true of the oil paintings made in response to these observations.
As a work in progress, he displayed works are intended as maquettes and investigations: an evolving body of work which would encompass a wide range of oddments from items of vanity, to objects of communication, social query, utility and technology. Each forging a conceptual eﬃgy though the inquiry of its connotations and parts.
Future Fossils invites you to ponder the meanings of these sculptures and fantasise about the interest the objects of our modernised lives will generate in many thousands of years time.