Dion Horstmans: Morphing Creativity
fluoro spoke to Dion Horstmans, an artist whose work creates a relationship between light and shadow, and are a constant evolution.
After spending over 12 years in the film industry, Horstmans became a full-time artist working from his studio to develop his sculpture practice. “The film industry gave me a broad spectrum [of creativity] and introduced me to a selection of materials and mediums and how they can be used together. It basically gave me a paid education where I was able to use lots of different tools and materials at a very intense level,” said Horstmans.
(f) Shadows are a large part of your work – how do you preplan for something as temporary?
(DH) They are totally part of the work, they give it more volume and dimension. The work is very much a play between light and space and the volume in between, the idea of something solid and then that of a third and fourth dimension.
The shadows constantly move with the source of light. The work itself starts from a regular shape that I will then cast a source of light on, I will then rebuild that particular work three-dimensionally. The shadow cast from the sculpture is an interactive thing that I hope will continuously change.
(f) You have said that when you work your hands are trying to keep up with your mind – is your process intuitive?
(DH) An idea is a nanosecond. It takes hundreds of hours of work to realise the idea, which is the journey. I will have an idea, and I will work on that idea and start creating it, making it happen and realising it but in the meantime I have to work stuff out the whole time. How will that work, that doesn’t feel balanced, it’s too heavy or it’s too light and there is not enough to it. While these things are happening there are developments and more ideas coming to life.
(f) How have you seen your work progress within sculpture?
(DH) I want the work to continuously morph and change. To move forwards you also have to look back, you are constantly moving between the next thing and how you got there. Backwards and forwards and backwards and forwards…
It is great to see works from years or months ago and see how your work progresses. Things like commissions, where people request a similar work, are creative but they are not really a learning process. I am essentially doing a similar version of something I have already created.
However if I have a show on or I am developing an idea, it is continuously morphing.
(f) On the more challenging days what do you do to inspire creativity?
(DH) I walk away from my workshop and go for a swim at the beach. I will also move on to something else or start something new and come back to the work later. It is about working it out and making things happen. I know if it looks right and I am aware if it is working, if it is balanced and the proportions are correct it’s good. If it is not working I will know it.
(f) Looking to The Blue room events, what do you value about collaboration?
(DH) Being a practicing artist is a lonely space, you are in your own head. Working with someone or collaborating on a project brings more energy, it’s great. It makes you think outside of the square and it is a challenge.
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The remainder of October will see Horstmans continue to partake in The Blue Room by Absolut events in key cities around Australia. Looking to the new year, Horstmans is working on a collaboration with Sam Mitchell-Fin, a neon artist, for a show in March 2014.
