Over recent years, the work of Curdin Tones has undergone a fundamental development. Rather than create sculptures or photos that offer a dogmatic position or conclusion, Tones is concerned with using objects as a means of investigating and exploring questions relating to art-making, its meaning, and making palpable the field of tension between perceptions of the artwork and perceptions of the everyday.
Because sculpture and photography are not used representatively but affectively, they can in turn become material. This also applies to the titles of the works which are not explanatory, but which provide words Tones utilises as material that acts as a lodestone, guiding him through the art-making process.
The artist has this to say: Making art and defining your position towards the world means navigating between the known and the unknown. In addition, the making process is one of transformation that can lead to the creation and discovery of new connections and logics within an artificial domain, a domain that simultaneously exists separately to, yet within, this world. In the installation, it is the permeability and visibility of the boundary between the everyday and the artificial that enables the boundary to be crossed and recrossed, repeatedly.The new works testify to my longing, through art, to gain access to the world and the objects, while at the same time exploring the potential of the transformation of the material.
The installation is a dynamic field that not only bears witness to completed actions but, through its completeness, also reveals the mechanism of transformation. With this, the work can be experienced as a model of a connection of making and thinking which allows the viewer to share in the excitement of ‘art-making’.