Charles Hazelaar Studio
This studio comprises 864 square feet of metal walls and wood and concrete floors. The space is divided into work areas for the directions my work is currently taking. The overall subject of my work is always the human condition. Surfaces display my feeling for the complexity and speed of contemporary life. In using the vessel, or closed space as an icon, I refer to the timeless need we have to create a home for our protection, our ideas, and our past.
As our homes are timeless, our appreciation of time and space and our fleeting presence in the moment, call for us to build galleries to house these ideas in permanence. As I lay homes for these concerns, I consciously look for ways to draw in my viewers as participants.
The two approaches to subject are current. My narrative pieces look to comment and invite counterpoint and, hopefully, repeated conformation with ideas laid out in story form. These works use found and altered objects housed in a ceramic shell to develop and display their story lines.
A second approach to drawing in my viewers in both initially, and over periods of time, allow dis-assembly and viewer participation. My work in this theme may allow the removal of a major section of the work opening the basic structure.
My purpose here is to add an element of private knowledge and long term anticipation. I want the viewer to pass by the three dimensional solid sculptural form, always noting the potential for both dis-assembly and addition. Leaving a niche or closed inner box invites the viewer to refine and reshape the interior as well as add a note or object.
In both approaches, the dynamic is to confront the fleeting moment with the timelessness of the permanent.
As our homes are timeless, our appreciation of time and space and our fleeting presence in the moment, call for us to build galleries to house these ideas in permanence. As I lay homes for these concerns, I consciously look for ways to draw in my viewers as participants.
The two approaches to subject are current. My narrative pieces look to comment and invite counterpoint and, hopefully, repeated conformation with ideas laid out in story form. These works use found and altered objects housed in a ceramic shell to develop and display their story lines.
A second approach to drawing in my viewers in both initially, and over periods of time, allow dis-assembly and viewer participation. My work in this theme may allow the removal of a major section of the work opening the basic structure.
My purpose here is to add an element of private knowledge and long term anticipation. I want the viewer to pass by the three dimensional solid sculptural form, always noting the potential for both dis-assembly and addition. Leaving a niche or closed inner box invites the viewer to refine and reshape the interior as well as add a note or object.
In both approaches, the dynamic is to confront the fleeting moment with the timelessness of the permanent.