Trubridge: Art­work’s fi­nal form re­sult of hard work

David Trubridge’s stain­less steel ‘The Strands of Life’ is the art­work for to­day’s Hawke’s Bay Wine Auc­tion. He chats to Mark Story.

Hawke's Bay Today - - Local News -

1Tell us what went into pre­par­ing/de­sign­ing The Strands of Life.

Lots of time and work! This is an am­bi­tious piece be­cause it is like noth­ing I have ever done be­fore, par­tic­u­larly in work­ing with braided stain­less steel wire. So, long be­fore we started to build, we had to do lots of ex­per­i­men­ta­tion and the fi­nal form evolved out of what the ma­te­rial and process taught me. You can have all the clever ideas in the world, but they need ma­te­rial res­o­lu­tion and in­vari­ably the ma­te­rial has its own dic­tates that you can only learn by ex­pe­ri­ence. Th­ese will di­vert you into all sorts of direc­tions you may not have an­tic­i­pated. That can be both good and bad! Weav­ing has long been a key in­gre­di­ent in my work: many of our lights ref­er­ence wo­ven forms such as hi­naki or fish traps.

2What does it rep­re­sent?

Su­per­fi­cially, a tree, but in essence it de­picts how all the strands of life are in­ter­wo­ven. Noth­ing stands alone, es­pe­cially us hu­man lot. The thick bun­dles of wire at the base bi­fur­cate sev­eral times as they rise up the form and th­ese strands are in­creas­ingly wo­ven to­gether.

In the Ma¯ori world, weav­ing has great prac­ti­cal im­por­tance, but it also has a metaphor­i­cal role: sev­eral words used for the warp and weft of weav­ing are also used for the in­ter­wo­ven lines of ances­try. So it also rep­re­sents a ko­rowai or cloak, an en­velop­ing gar­ment that keeps us warm and wraps the spirit of our an­ces­tors around us. Em­pa­thy and emo­tion play a big part in this auc­tion for Cran­ford.

3Does that help or hin­der the creative process?

All art is tightly wound up with em­pa­thy and emo­tion so of course th­ese play a big part. I want peo­ple to em­pathise with the art and as a re­sult feel some emo­tion. Em­pa­thy is also a key com­po­nent of the creative process: you are stirred up enough by some­thing you feel to want to ex­press it in some way.

4Do you have per­sonal links with Cran­ford your­self?

No I don’t ... yet!

5Do you think there’s a sym­bio­sis be­tween wine and the arts?

I am sure that there is a mu­tu­ally ben­e­fi­cial re­la­tion­ship: warmed and loos­ened by fine wine you will open your heart to the art; and a chal­leng­ing art­work can def­i­nitely drive you to­wards the near­est bot­tle. The ap­pre­ci­a­tion of each is en­hanced by the other.

Less flip­pantly, I would say that maybe it is more of a close as­so­ci­a­tion rather than a sym­bio­sis. Wine­mak­ers and artists share a sim­i­lar process and set of ideals which were ex­pressed in a re­cent video of a con­ver­sa­tion be­tween me and Chris Scott from Church Road win­ery.

Read­ers can see the video at www. face­book. com/david. trubridge/ videos/church-road-win­eryjour­neys-of-dis­cov­ery/ 10156059995367772/

PHOTO / PAUL TAY­LOR

David Trubridge with his sculp­ture TheS­trand­sofLife for the Hawke's Bay Wine Auc­tion 2018.

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