Throne of Potentiality
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The Throne of Potentiality is a sculpture by artist Stevens Vaughn, developed for Lorne Biennale during Pandemic (2020-21).
The artist, Stevens Vaughn, chose to stay Melbourne while he was en-route to Chili for his next exhibition in March 2020. Then, Pandemic came, and consequently the exhibition cancelled and Australia shut down its border, leaving him no choice but to stay for a while. Even though becoming a pandemic refugee was not expected, he responded to it by getting close to the nature and life in Lorne, Victoria where he stayed during most of the lockdown period.[1]
Stevens was travelling with his partner Rodney Cone and they became ensconced in the community and Mr Vaughn was commissioned to produce an artwork for the Lorne Sculpture Biennale, which has been postponed twice during the pandemic.
Fishing on the pier and living among the native wildlife turned his Pandemic experience into a giant throne made of bronze. Mr Vaughn spent hours fishing on Lorne’s pier while Mr Cone took to ocean swimming. They hiked in the Otways and became fascinated with the native wildlife. The time spent observing animals and studying the lacework on houses in Melbourne and regional Victoria, helped inspire the design for the throne, which includes kangaroos, cockatoos, a koala, kookaburras and slender shell-like cones.
The bronze made throne that rises higher than 4 metres with more than enough room to fit two adults sitting comfortably. The imposing structure, which will be installed at the end of Lorne pier, is adorned with native Australian animals set among ornate Victorian lacework much like that on many period homes. The heads of thylacines – the extinct Tasmanian tiger – protrude from each arm. But the platypus was particularly tricky to recreate as Stevens said “Their tail is not like a beaver’s; it actually curls up at the end,” he said. “They have very small bone structures with a lot of fat.”[2] Castlemaine’s Billmans Foundry and creatives from Lot 19 Arts Precinct have assisted American conceptual ritualistic artist Stevens Vaughn to bring his latest work dubbed the ‘Throne of Potentiality’ to life.[3]
The Artist[edit]
Stevens Vaughn is a conceptual ritualistic artist, who has spent the majority of his life in Asia. In 1978, he was sent by the Peace Corps from a farm in the US to the Philippines to work with tropical agriculture. This posting was the beginning of a life-long relationship with Asian Art, history and mythology. Stevens has performed and exhibited globally throughout Asia, the US and Europe.[4][5]
The artist sees the throne as the summation of his whole Australian life and art manifestation and names it “The Throne of Potentiality”. Stevens believes the throne is a response not a reaction as we always have a choice to react or respond to a new situation like water. Water is not sad, angry or broken, it is always responding and transforming. Stevens thinks he was responding to the pandemic situation and when the fear of death gradually disappeared he thinks that he entered the world of play and eventually came out with this Throne responding to it.
References[edit]
- ↑ Preiss, Benjamin (2022-02-20). "Giant throne without pier heading for Lorne". The Age. Retrieved 2022-06-30.
- ↑ Preiss, Benjamin (2022-02-20). "Giant throne without pier heading for Lorne". The Age. Retrieved 2022-07-01.
- ↑ Dennis, Lisa (2022-03-11). "Throne of potentiality". Castlemaine Mail. Retrieved 2022-06-21.
- ↑ "Stevens Vaughn", Wikipedia, 2022-06-23, retrieved 2022-07-01
- ↑ "Lorne Sculpture Biennale". www.lornesculpture.com. Retrieved 2022-06-21.
Giant throne without pier heading for Lorne
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