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King (For Andrzej), 2019
By Sid Burnard
Driftwood, mixed media assemblage. •
Signed •
46cm
x
12.5cm
SKU: SB-100977
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Sid Burnard was born in Brighton in 1948. Introduced to the art of beachcombing by his Romany grandmother, Sid learnt to appreciate the beauty of nature from an early age. His time at Bristol Guild of Applied Arts gave him a profound understanding of visual arts and crafts and allowed him to put his personal vision into practice.
He is now based in Borth near Aberystwyth in Wales, where the flotsam and jetsam from the nearby sea is his only source of materials. Working with found objects, nothing is changed - simply introduced to one another. His driftwood pieces, usually birds, boats or mythical beasts, are full of his passion, integrity and wonderful humour.
He is now based in Borth near Aberystwyth in Wales, where the flotsam and jetsam from the nearby sea is his only source of materials. Working with found objects, nothing is changed - simply introduced to one another. His driftwood pieces, usually birds, boats or mythical beasts, are full of his passion, integrity and wonderful humour.
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About the work
About the Work
Driftwood, mixed media assemblage.
On the first day of the 2012 Goldmark exhibition I noticed a quiet person, shyly observing the display. From time to time he discussed aspects with his wife, eventually choosing one of my birds, tucking it under his arm as if assessing the tameness. The man seemed from another world. There was vulnerability coupled with a deeply considered perception of the space in which he had found himself. I asked Mike who the character was. 'That's Andrzej Kuhn. He's a very special man.'
Later in Goldmark's 2009 exhibition catalogue I read Jay's moving and enlightening foreword to Andrzej's beautiful essay. Some months afterwards I received a postcard from Andrzej which sits in my studio, a reminder of that memorable meeting.
Eight years later I was on hand when a number of discarded wooden glass-moulds were being destroyed. Such quality warranted translation. I saw potential for a head and set one on a triangular ironwood base. Within my 'scrap yard' tray were all the appropriate components. Intriguing grey plastic cap nose, squashed re bottle top mouth, rusty washer sockets defining screw-fitting light bulb eyes, black paintbrush bristles beard, blonde frayed rope hair under tin ladle hat with plastic jewel adornment.
Might this be a king from Andrzej's magic realm?
On the first day of the 2012 Goldmark exhibition I noticed a quiet person, shyly observing the display. From time to time he discussed aspects with his wife, eventually choosing one of my birds, tucking it under his arm as if assessing the tameness. The man seemed from another world. There was vulnerability coupled with a deeply considered perception of the space in which he had found himself. I asked Mike who the character was. 'That's Andrzej Kuhn. He's a very special man.'
Later in Goldmark's 2009 exhibition catalogue I read Jay's moving and enlightening foreword to Andrzej's beautiful essay. Some months afterwards I received a postcard from Andrzej which sits in my studio, a reminder of that memorable meeting.
Eight years later I was on hand when a number of discarded wooden glass-moulds were being destroyed. Such quality warranted translation. I saw potential for a head and set one on a triangular ironwood base. Within my 'scrap yard' tray were all the appropriate components. Intriguing grey plastic cap nose, squashed re bottle top mouth, rusty washer sockets defining screw-fitting light bulb eyes, black paintbrush bristles beard, blonde frayed rope hair under tin ladle hat with plastic jewel adornment.
Might this be a king from Andrzej's magic realm?
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