Rational and irrational, negative and positive, order and disorder, filled and unfilled, Robert Currie continually develops consistent contrasts in his work.
The inevitability that out of any complex system, order will emerge plays a prominent role in his work. The result of two bodies interacting is entirely dependent on the variables of time and space - an equally significant concept that Currie explores.
The Isle of Man provided a naturally constant supply of these variables, where Currie spent many years practicing as an artist. These forces are translated effortlessly within an urban environment, in this case London, where Currie has resided for the past few years.
Curries three main strands of work, drawing, sculpture and installation are concurrently unique and separated. Linked by the notion that order emerges from disorder, Curries explores these different mediums, while recognising that all three materials can be manipulated into equally astounding results.
Each medium utilises visible and invisible energies that perpetually surround us, going unnoticed while remaining vital to our everyday. Combining these forces with synthetic materials enables Currie the fusion of these forces with existing materials - making them visible.
Currie's initial drawings delve between the relationships of the intricacies that can be achieved through mechanisms. A simple drawing machine made from banal every day objects produces forms and impressions that appear 'natural' and hand-drawn but are in fact impossible to create by hand. Later drawings obviously exploit the linear aspects of his sculpture and drawings.
Sculptures and installation meticulously constructed in nylon and videotape visualise unnoticed forces. What's unique about these visualisations of force is the unmistakable human touch. Currie constructs each piece by hand, precisely placing, wrapping, threading and twisting the material to create the reciprocally static and fluid structures.
Infinitely contrasting forces enable Currie to produce bodies of work that are continually evolving, altering in their technical specifications yet maintaining the purity of each medium.
Intentionally utilising external factors in his work, Currie allows the material, to reflect, diffract, and absorb light. Resulting in disorientation, weightlessness, and elusiveness.