David Burns primarily uses natural materials to create a conversation with the viewer and their natural world. Creating connections within spaces, both indoors and out, for the viewer to relax and contemplate thoughts provoked by the actions of the artist.
Since finishing his degree at the Winchester School of Art in 2009, were he specialised in Sculpture, he has been exhibiting work across America in Minnesota, Vermont and New York.
All artwork by David Burns Contemporary British sculptor
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'Grow Room' by David Burns
Description: This Space was a test on the growth of natural life and if it could be controlled. The light was on for the same amount of daylight hours, the space was watered the same amount as rain that fell that day (or not). It was an experiment to see if by man controlling the environment life could still prevail.
Description: This work created at the Franconia Sculpture Park, Minnesota, was a reaction to the surrounding grounds of the park. The desire to create a space in which the viewer could take comfort within the environment, giving an opportunity to reflect, contemplate or to just simply relax. The exterior is subtle and unknown. Resembling a buriel mound or paganistic place of worship, it provokes the human reaction to see inside. Once inside there are a number of things to notice, the mirror on the floor initially reflects the stone walls, but then alters to reveil the sky through a hole in the ceiling. The hole itself allows the viewer to gaze directly to the sky, as well as rotating a ball of light around the room as the day progresses.
"The problem of contemporary sculpture and the garden is one which has rankled in my mind for years. It is usually resolved through a process of inversion-that is turning it into sculpture in the garden as against garden sculpture. By that I mean the sculptor takes over the garden as an open exhibition gallery, of which the focus is their creation, to which the world of nature merely provides the frame.The Idea that sculpture is a contributory element to an overall'mise en scene',in which, sometimes its role may be incedental rather than central, has been lost.In this we have seen the betrayall of the great tradition of garden sculpture, one which was unashamed at being decorative or delightful." Sir Roy Strong