This is a curatorial review on Andrew Stevens’ work in the 2024 show.
The above artwork Dali’s Minotaur II (2024) is a great reinterpretation of the iconic Lobster Telephone – this reference is even more reinforced as you will notice the lobster claw. However, the lobster, has been replaced with the minotaur which stands above the telephone against what seems to be a dismantled rotary dial. The lobster- still there- has been transmorphed into mechanical parts giving it a very Dada impression.
The minotaur fuses into what was once the lobster; with the minotaur taking a much more organic form than what inhabits the lobster now.
The ‘Last’ Journey of the Minotaurs (2024) showcases the attention to detail that Stevens’ sculptures have. From the intricate network of gears (to which you can see them connected through string-like objects) to the restrained yet effective use of the bronze patina which brings together the sculpture to be harmonious.
Winged Minotaur IX (2024) is framed by a circular wire which encases a winged minotaur in the top centre of the work. We find that the circular frame adds completeness to the work and helps to draw the viewers gaze across the sculpture. It could also be potentially construed as a religious motif as it may be viewed as a halo- sanctifying the minotaur.
Conclusion
Andrew Stevens’ work is stunning with its use of recycled and repurposed materials, or to quote the artist themself: “engine parts, brass clock interiors, scrap wood, old toys, etc” (Stevens, 2024). Turning these utilitarian objects into very intricate and thought-provoking works (as it is a impressive use of upcycling) invites the viewer to explore every part of the sculpture to examine its origin and admire the intricacy and beauty of the work.