The rational and irrational; negative and positive; order and disorder; Robert Currie continually develops contrasts in is work.
Working with synthetic materials; videotape, cassette tape and nylon, Currie works across the mediums of sculpture, installation and drawing to produce work that explores the inevitability of the emergence of order from disorder.
Currie’s early drawings delved into the intricacies that can be achieved only through mechanical processes. His use of a simple drawing machine, made from every day objects, produced forms and impressions that appear natural and hand-drawn but are, in fact, impossible to create by hand.
Conversely, it is the unmistakable human touch present in the production of his current practice – sculptures and installations constructed in nylon and tape – that makes his installation work so unique. Currie constructs each piece by hand, precisely placing, wrapping, threading and twisting his choses materials to create structures that are at once both static and fluid.
Currie’s understanding that the appearance of his installations are entirely dependent upon the variables of time and space is central to his work. His skillful use of the external environment means his works constantly evolve, their technical specifications altering but the purity of their medium remaining unchanged. Reflecting, diffracting and absorbing light, Currie’s work achieves a sense of weightlessness that both disorientates and remains elusive. In this, Currie succeeds in making visible the forces and energies that go otherwise unnoticed in the everyday.