Starting from zero, Andrew Rogers was an amateur painter.
One. He started making sculpture based on the human form. Nothing remarkable, the last of his figurative sculpture is a public sculpture, City Living, 1996 in West Melbourne.
Zero plus one.
One. Again, and again Rogers makes sculptures, this time abstract.
One plus one.
Two. More editions of sculptures and growing complexity of techniques and materials. Becoming a full-time artist was not a big life changing decision just “something that I grew and enjoyed over time.”
One plus two.
Three. Moving on to something new, land art. He continues to make bronze sculptures, each one building on the previous work. His ‘geoglyphs’ are giant drawings with piles of rocks in sixteen countries on every continent on earth. In his land art Rogers works with local artisans and craftsmen, taking a material that they normally build with and creating abstract form.
Two plus three.
Five. It is getting harder to make sense of Rogers’s sculptural practice as it ranges in material and scale from small work in new materials to land art. His sculptures are a mix between ancient and contemporary materials, ancient and contemporary techniques, the extremely large and small scale and different locations from the desert to the city. But Rogers doesn’t see much difference between all his sculptures. They are all building on the same work, part of the same series of works that intersects with another series of works with the same theme.
Three and Five.
Eight. Scrolling through more photos on his iPhone, Rogers is talking about the latest edition of a sculpture that he made for the entrance to the headquarters of Cirque du Soleil in Montreal, Canada and his plans for more land art in Turkey and Peru. Talking about 420 tons of carved stone and building the roads as well as building the structures. Another version of a sculpture that has fire going through it for the fire breathing founder Cirque du Soleil, Guy Laliberté. He wasn’t a mystic with wild ideas, nor a charismatic salesman, he was more of a calm, taciturn, mathematician.
Rogers explains; “When I’m on a land art site I’m there seven days a week, ten hours a day, working. I’m working with lots of people. I’m just working with more people than I normally work with at a foundry but its no different. Once you have a volume of work you need people to help you create it. You can’t do it all by yourself.”
Out to the foundry floor he shows me couple of elegant, dynamic stainless steel sculptures he spends 90% of his time doing this kind of work. Another sea shell form in stainless steel that is being polished. Rogers explains some of difficulties of casting curved forms in stainless steel. “State of the art stuff,” He says but basically it is art bling for the conspicuous consumers.
On the desk in the small office of Meridian Foundry in Melbourne, where I am interviewing Andrew Rogers, there is the form of a bisected sea shell cast in a polymer and covered in a thick coating of crushed lapis lazuli, a sample of a new technique that Rogers is trying for his Molten Concept series. The series involves the same sea shell form each made in different materials.
The sea shell form is also the form of Rogers’s third ‘geoglyph’, Slice (2003) in the Avara Desert in Israel. A vertical slice through a sea shell drawn horizontally with walls of stones on land that was once part of an ancient seafloor.
“Land art is an ancient form of art but I think my land art is fairly contemporary in its approach and ideas. The methods probably aren’t that different. Some structures are only able to be made with a contemporary approach, with contemporary equipment but the structures aren’t that much different to ancient structures. The ideas behind whether it is a contemporary bronze or stainless steel is the same idea behind the land art. They are all reflecting similar ideas. So you can take the mathematical Fibonacci Sequences, which is an ancient idea but I have made a contemporary bronze and I have created it in a number of contemporary stone structures around the world.”
In the Fibonacci Sequence the next number in the sequence is the sum of the two previous numbers. It is a natural model of growth and progression with each step building on the previous steps. The patterns of nature expressed in numbers, like the slice through a sea shell.
A sequence or a pattern only makes sense as a progression not in isolation. The later numbers don’t replace the earlier numbers but continue to build on them. New art doesn’t replace old art but builds on it in a continuing sequence of art making. And so on and the numbers and types of Rogers sculptures continues to grow larger. He currently has over fifty massive stone structures. We see by recognising patterns in time and space. The Fibonacci Sequence is a both way to understand some of his sculptures and also Rogers’s whole oeuvre.