Anton Parsons
Profane, 2017
Steel, zinc, cast iron, polyurethane,
H1200mm X W1000mm X D1100mm
In this hexagonal work titled Profane, the length of the cast iron rods are seemingly random and could portray anything from secret codes to mathematical formulae. Parsons does not wish to dictate to the viewer what a work of art means, instead he takes an approach of secrecy and allows his audience to freely interpret it for themselves.
He says, "It's a popular mythology that the artist is a bit of a fascist, that he knows what is right for others and his art is the only true take. I much prefer that people approach my art with a sense of curiosity and fill in the gaps themselves." This strategy results in an open experience, questions are raised and answers are unattainable.
The artist compares the space within the centre of Profane to the breaks between tracks of music replayed on audio equipment, or the silence in between notes in a song. For example the space and silence between a chord or drumbeat is as important as the sound itself. Parson refers to this as a visual pause for thought.
Parsons employs a range of media in his oeuvre, industrial materials, readymades objects and photographs.
Parsons is well known and respected for his large scale public and corporate installations. One of his most famous is titled 'Gone Fishing', 2002. Located on the first floor concourse of the Price Waterhouse Cooper’s tower. It is on a monumental scale which creates an entire 'curtain wall sculpture' that spans over forty metres in length, engulfing the viewers peripheral vision.
More from this artist
Artist Bio
Considered one of New Zealand's leading sculptors, Anton was born in 1968 in Palmerston North and currently lives in Auckland. In 1990 he completed a BFA in Sculpture at Canterbury School of Fine Art, Christchurch, New Zealand winning the Rosemary Muller sculpture award. During this decade he received creative grants from QE2 Arts Council (1991 & 1993) and Creative New Zealand.(1996)
Anton uses a range of media including industrial materials, readymade objects and photography. He often creates large-scale, site-specific work such as the braille ‘curtain wall’ of Gone Fishing in PWC Tower.
He has exhibited in many group and solo shows and appears in many private collections, while his public commissions include:
Passing Time, 2011, Wilson Reserve, Christchurch
Numbers, 2007, Coleman Mall, Palmerston North
The Longest Day, 2004, Q&V Building, 203 Queen Street
Analogue, 2004, KPMG Building, Tauranga
Invisible City, 2003, Lambton Quay, Wellington
Polyglot, 2003, North Shore District Court, Albany
Gone Fishing 2002 PWC Tower, Auckland
Alphabeti, 1992, High Court, Wellington
Anton says that he doesn’t believe that the artist necessarily needs to impose his views or beliefs on the people who view the art. “In that sense, I am a little unusual I suppose. I do like a message to be buried in the work, but it is hidden and isn’t necessarily meant to be found. It means as much to me that the viewer might impose their own interpretation on the work. It’s like when someone has a favourite song, but doesn’t know the words or mishears them and gets them wrong. Does it take anything away from the song that the listener has a different idea of what it’s about, or gets pleasure from it thinking the words are nonsensical? I don’t think so.”
