David Ogle’s practice seeks a mode of fragility, frequently revealing strong geometric forms within a space, lacking the weight and immobility of sculpture. Like the dimensionless properties of line on a flat surface, they exist in space without mass or structure. Working in this way, his practice routinely employs a material that surpasses such physical restraints; light.
Through negating material properties, Ogle’s work has come to rest on the edge between a sculptural form and an environmental occurrence. His current practice has moved beyond the walls of indoor sites and out into the landscape, documenting ephemeral works that are shaped by natural elements and freed-up from the confines of both interior sites and the viewer’s requirement for a work’s prolonged existence.
Such works exist in the landscape, a context from which they are inseparable, alone in this specific place and for a narrow window of time. Like the shifting of natural light, their transience provides significance and meaning; a moment fleeting and precious.
Much of Ogle’s early work derived from drawing, revealing an act or process of mark-making that became the fundamental rationale of the work. In the application of such processes to physical sites, his works on paper leave the confines of a flat surface, their aesthetic qualities manifest in physical space. Spaces that simultaneously shape the work and become manipulated by it, encouraging viewers to navigate their environments in new ways.
Incorporating drawing, sculpture, installation and new media, David Ogle often works in the ‘grey area’ between different mediums. Recurring visual motifs often surface across this disparate array of disciplines. In disrupting our expectations of these boundaries, his work produces paradoxical elements that are always combined with simplicity and material presence, continually providing a physical, and often illusionary, confrontation in real-space.