- 3
Jedd Novatt
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Description
- Jedd Novatt
- CHAOS CONCEPCIÓN
- inscribed Novatt, titled, dated 2012, numbered 1/3 and inscribed with the foundry mark ALFAlortel
- stainless steel
- 360 by 160 by 160cm.
- 141 3/4 by 63 by 63in.
Catalogue Note
Jedd Novatt’s Chaos Concepción is an exceptional example of his large scale sculptures. Though architectonic in scale and form, it exhibits an unpredictable geometry that borders on the organic. The stacked, cuboid forms defy attempts to identify parallel or uniform contours, instead suggesting the balance and elegance of natural structures. Novatt's early works were produced using the technique of welding, which thereby established a dialogue with the works of Julio González, Pablo Picasso and David Smith. Novatt’s work seems to spurn the natural laws of physics, embracing instead a chaotic quality but appearing to be impossibly supported by its own design. The equilibrium achieved by the beautifully engineered stainless steel structure, with its shining surfaces and strong silhouette, allows Novatt to contradict its visual instability.
For Novatt it is often a question of scale which draws out the sculptures inherent ability to cause visual disquiet in its structural integrity. In conversation in October 2009 he stated: ‘In terms of describing work as monumental, I would distinguish between size and scale, and define the scale of a sculpture as its size in relation to the space it becomes part of. Scale is one of the most important questions, regardless of the size of the work. I generally conceive of my large-scale works in an interior space, and when the sculpture is placed outdoors the visual experience of the work changes: nature has a way of dramatically reducing the scale of a work. Although the power of a large sculpture may come from an initial response to its size, in some cases its size is gratuitous. Once its impact fades, some work becomes simply a large object. When the scale is successful, take for example Giacometti’s City Square (1948), the size can be actually quite small yet the work feels monumental in scale. And what’s even more interesting is that just because a work is successful in a small format doesn’t guarantee that when it is enlarged it will still maintain its strength and integrity. This is the most challenging aspect of working in a large format’.
For Novatt it is often a question of scale which draws out the sculptures inherent ability to cause visual disquiet in its structural integrity. In conversation in October 2009 he stated: ‘In terms of describing work as monumental, I would distinguish between size and scale, and define the scale of a sculpture as its size in relation to the space it becomes part of. Scale is one of the most important questions, regardless of the size of the work. I generally conceive of my large-scale works in an interior space, and when the sculpture is placed outdoors the visual experience of the work changes: nature has a way of dramatically reducing the scale of a work. Although the power of a large sculpture may come from an initial response to its size, in some cases its size is gratuitous. Once its impact fades, some work becomes simply a large object. When the scale is successful, take for example Giacometti’s City Square (1948), the size can be actually quite small yet the work feels monumental in scale. And what’s even more interesting is that just because a work is successful in a small format doesn’t guarantee that when it is enlarged it will still maintain its strength and integrity. This is the most challenging aspect of working in a large format’.