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Jerry Ortmans
An exhibition of the work of Jerry Ortmans at the Spike Island ‘OPEN’ in 2002
led to Jerry becoming Artist in Residence at Taurus in July 2003. The work he
displayed at the ‘OPEN’ was an impressive array of structures built entirely
from two universally important materials, steel and rock. His sculptures were
beautifully crafted, elegantly portraying the qualities of these useful
materials, yet used in a way that expressed some deeper meaning. Formerly a commercial printer, Jerry spent two and a half years at the printing department of ‘War on Want’. Here he was struck by the gap between the high motivation of those working for the charity and the ‘contemptuous’ world of product ‘development’ and the resulting promotional schemes in the commercial sector. The incredibly sophisticated engineering technology employed in industry seemed to him only as useful as the products produced. He became a joiner and builder making roofs, windows, doors and stairs, with which it is hard to find fault, since they have such universal importance
Art for him became a language through which he could reflect, to a greater or
lesser degree, on a mixture of thoughts, concerns and conclusions, hopefully
leaving enough room for further explanation. Much of his sculpture is concerned
with the idea of structure and the physical appearance of structure,
commandeering different materials to work together. They often appear
precarious. He is keen to highlight and reflect on other social structures –
especially the differences between the West and the Third World. He prefers to
use materials at the very beginning of the ladder, and from which many of our
needs are derived.
His Climbing Rocks ‘Living Artwork’ was made from a pile of discarded rocks found on site, and from steel rod, cut and welded at first in the Artist in Residency studio and then, as the structure became too tall to be housed in the studio, in situ. It sits on a sunken concrete base almost a metre deep.
As a part of the Taurus ‘Living Art’ collection the sculpture’s framework may be seen as supporting a plant, Clematis montana. Alternatively the Clematis might also be viewed as assisting in the support of the rocks. Jerry interprets the work as a metaphor for structures generally: as with any structure, the components work together symbiotically on one level or another. In this piece, the rocks rest in a stable relationship within the framework of steel. All structures, whether in the form of religions, political groupings or more domestic arrangements, garner strength from the affiliation of their various parts. Any external influences might upset the equilibrium and are therefore viewed with suspicion. Climbing foliage added to the self-contained structure will either complement or smother the ‘climbing’ rocks. Structures, whether bridges or dictatorships, require constant attention to retain their integrity.
This sculpture has left us with the dilemma to either interfere with the course of nature and maintain our ideal structure or abandon our idea of structure and let nature take its course.
Jerry generously donated another piece of art during his stay at Taurus, which we have christened Rocky Path. To him it is a simple reflection on security. The horizontal pathway formed by the stones, although appearing comfortably secure, is not. Whilst accepting judgement on the basis of ‘beyond reasonable doubt’ from our legal system, we so crave certainty that we are apt to willingly encase ourselves - and for added security, to coerce others - in mythological precepts concerning the after life. This is part of being human.
Trained at London College of Printing
Individual exhibitions include: Winchester City Art Gallery; Konicus Gallery,
Bristol; Southville Gallery, Bristol; Yeovil Arts Centre
Selected exhibitions include: Cube Gallery, Bristol; Thompson Gallery, Stowe;
Hilliers Arboretum; Beatrice Royal Gallery, Eastleigh; Artgarden Gallery,
Bristol; Ernst & Young Annual Exhibition; ‘Fresh Air’ 99, Cirencester; Broomhill
Sculpture Gardens, Barnstable; Mall Galleries, London; Millfield Open; Artspace
Gallery, Bristol; RWA Open, Bristol
Installations in ‘Workplace’, Bristol; Matchbox Perspective, Somerset; Ecole des
Beaux Arts, Aix; Zennor, Cornwall
Awards: National Lottery Grant (Konicus); British Council Bursery, Mexico
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