alex seton: the man behind the âx80x98plastic sheetâx80x99 made of marble | kochi news - times of india - plastic sheet
At first glance, Alex Seton's work sanctuary looks like a hunchback figure, sitting there wrapped in plastic, which you can imagine could be the plastic itself.
Well, the work is completely carved in marble, and it's hard to decipher even at close range.
The artist encourages you to touch and feel the work and ask any questions you want.
Simply put, the shelter symbolizes the refugee crisis, he said, depicting a refugee sitting alone and afraid, with only one plastic sheet as a shelter.
There is no face in the sheet, and Seton wants you to imagine yourself in it.
Put yourself in the position of a refugee, be introverted and avoid everything.
His work, which took him two months to complete, was made of traditional white marble, which is usually used to make memorial stones.
"I want to commemorate the tragedy that is happening, involving millions of displaced people, not the king and queen," he said . ".
It took only two months for Seton to create a sanctuary, which was first exhibited in Paris in 2015.
Why does a traditional form like sculpture convey his thoughts?
I want a form that everyone is familiar with, and my work is very clear in terms of meaning and basics, not abstract.
I want everyone to recognize it and tell everyone that it may be you or me.
For the past five years, the work of artists in Sydney has been focused on the notion of outsiders, about the people we chose to stay in the suburbs of the community, and why we made those choices.
The turning point was in May 2013, when he read on the Cocos Islands on Australia's west coast that 28 life jackets were being washed and known for smuggling refugees.
Lifeguards have never found a boat or a refugee who may have sunk, or a refugee who may have tried to save himself with a life jacket.
They are considered Iranians, speculating from the Iranian currency found in their pockets.
It's about human life. I think this is a question worth discussing.
The idea of making 28 life jackets out of marble became a seed, and in a year I showed the work at the Adelaide Biennale in 2014.
After washing a lot of life jackets, I realized that this tragedy was much more serious than I thought.
Seton, who grew up in Australia, has a clear role in shaping Seton's political point of view, especially his Egyptian ancestry.
My mother is from Cairo and her family fled Egypt in their 60 s to escape the Abdul Nasser regime.
Her brothers, computer engineers, were asked to design war gear and fled all over the world.
I grew up listening to the story of displacement and how grateful they were for the peace of mind they enjoyed in Australia.
However, he believes that the Australian government's policy on the issue of refugees is far from humanitarian.
Originally, the Australians themselves came by boat.
But in the last 20 years, the government
Has been demonizing those who choose to come by boat.
It is simply not right that they regard immigrants as desperate acts by asylum seekers, but rather as illegal criminal acts.
By banning ships, the Australian government is saving lives, but families are separating, he said.
They are tearing their lives apart and destroying the dream of people longing for reunion.
At the same time, Seton found the art crowd in Kochi.
The crowd behind was a bit cynical and tired, and the people here were more willing to participate in the works of art and discuss them, and he signed off.
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