Let's first up establish that all sculpture is ultimately made to be indoors. Why go to all the trouble of making something and then leave it outside to be vandalised and subjected to the weather?
It's trouble enough to find venues to place works outdoors, so sculptors will be grateful to be so accommodated. Sculptors are pleased until, years later, they find their works neglected and eroded.
There is no material that can survive the impact of the weather. The term 'weathering' describes the extent of physical deterioration.
Sculpture can benefit from the influence of environmental elements. 'Boat', placed recently at Blackheath sits beautifully in the garden. Elements of the landscape complement the straighter lines in the work.
Boat, 1979 and 2013
The work, shown here from different angles shows how one comes upon the work in different ways while walking in the garden.
Boat at Sawmiller's Park, 2013
The work photographed earlier, when it was shown in The Sawmiller's Sculpture Prize shows a different aspect where the water background clarifies some of the aspects of the work however, the presence of the trees muddles the work too much.
Boat at Australian Galleries , 2013
In the gallery, all the elements in the work were legible against each other. Not being dazzled by the lovely setting and the dappled light and warmth, allowed the work to be more purely itself.
As a sculptor one hopes that some of the works made will ultimately be saved from the trials of time and be ushered indoors.
All outdoor sculpture waits patiently in an unruly queue. They are waiting to be identified as save-worthy.
The sculptures wait while the committee naps.