My large-scale sculpture is inspired by the interconnection between the ingenuity of human creation and our relationship with the physical world. I believe that an essential part of what makes us human is our ability to envision that which does not exist, and then redefine reality to match our imagination. It is this intrinsic connection between our minds and hands that allows the objects we create to function as a reflection of our inner selves and a catalyst for profound experience. I embrace a materiality in my work that celebrates that point of connection; seeking the vital intersection of irrefutable form and indefinable expression.
in part I use scale as a way to move beyond ownership. When an object is smaller than the viewer it is natural to feel some measure of power over it. However, when the object is larger it becomes a threshold by which to enter the world of inhabited space, the world of the sacred. In this way large-scale sculpture and installation affords the opportunity for numinous experience and to realize a greater truth of our existence: that we are not the center, but one part of the infinite. As a sculptor my passion is to create works of art which act as a lens to see farther into the nature of the world and deeper into ourselves.
This body of work grew from my exploration of the relationship between nurture and nature; not some abstract or fundamental truth to be understood or found in the human condition, but in my personal, hard-fought battle between a formative childhood spent in abuse and neglect and the ambition to rise above such circumstance.
At the River's Edge
COMMISSIONED by the River's edge apartments and Studio for the Arts, i took inspiration from the move my young son and I made from new orleans to salisbury, MD in 2013. The design of the sculpture was taken from the CHESAPEAKE Bay Bridge and, imagery from our life in New Orleans and the journey to our new home in Salisbury. as with all bridges, it symbolizes both A connection to the past and a promise of a future.
My Other Half
My Other Half is about the miracle and mystery of connection. Like perfectly matched dance partners we find synergy in surprising places. While impossible to plan for, when that union is made it is as mysterious and undefinable as joy. We simply inhabit a state of perfect contentment, holding onto that moment For as long as possible. This work seeks to capture that moment.
This work was inspired from BEING a part of the rebuilding efforts in new orleans after Hurricane Katrina. i wanted to create a work that symbolized the inestimable and unseen labor that went into rebuilding new orleans after such DEVASTATION. if the circle symbolizes completeness, the crescent shows the work is not, and may never be, completed.
Isamu Noguchi believed that stone was symbolic of the natural world and that a sculptor’s engagement with stone was a metaphor for human existence. Glass on the other hand is rare in nature, but by transforming the raw stuff of earth human invention has made it commonplace.
inspired in part by the concept of the Void as a pregnant whole filled with possibilities, rather than a lack of substance, this work represents the fractal nature of time and represents each point of decision as a doorway, through which we can only walk once; and after passing through every subsequent moment of our lives is irrevocably altered.
LeveeBreak was the work I created from my experience in New Orleans after Hurricane Katrina and the levee failures which flooded the city. By standing in front of the work, i wanted the viewer to feel the weight of the water bearing down on them, of being utterly overwhelmed, as each of us did in the months and years after Katrina. at the same time I wanted there to be a sense of resilience and hope in the face of overwhelming pressure.
this work was purchased and is in the collection of carbondale, CO.
For my site-specific work Tangent I proposed a work for sculpture key west inspired by the scale of the earth and our place in the universe to be placed on the beach facing the ocean where there is no visual impediment to the true HORIZON.
in the same way as many ancient cultures, I envisioned a structure built with celestial SIGNIFICANCE. I created a work that would form a line, tangent to the surface of the Earth, forming a line directly to the precise point where the sun set on the Vernal Equinox.
To further the connection with the environment I covered the work with a mirrored polyvinyl material so that the work always reflected the condition of the ENVIRONMENT, as if a piece of the sky itself had fallen onto the beach.
Dasein references German philosophy and generally translates to mean being, not objectively, but as an awareness of oneself, or, in other words, the being which can contemplate itself. this MONUMENTAL sculpture is part of the PERMANENT collection of the colorado springs fine arts center.
From the F.A.C Acquisition Announcement: “Steven Durow’s Dasein will be a tremendous addition to the FAC’s permanent collection as it enhances the holding of abstract contemporary sculpture which includes the new acquisition of Isamu Noguchi’s Mountains Forming... Dasein provides a dramatic counterpoint to Chihuly’s delicate blown glass pieces by offering patrons an impressive sculptural glass form that conveys notions not traditionally associated with the material.”