Phoenix

Rising vibrantly from the ashes of recent fires, each piece of timber is recast by Adam Birch as a symbol of resurrection, allowing something extraordinary to emerge from the darkness of soot and dead flame. In this regard, the works could also be considered a response, a commentary of sorts, on the immensity of the struggle faced by a world in the grip of a pandemic.

An impossible time for so many and yet we have endured, fighting, pushing and ultimately rising again. Birch was also drawn to the dark African myth of the impundulu (lightning bird), a vampiric bird that has the ability to manifest itself as lightning or the human figure – it too is imbued with that essence of re-birth.

Guided by the unique forms of each wood grain, Birch sculpts functional pieces whose sensuous curves evoke the tree’s original essence. His intimate knowledge of various kinds of timber allows him to anticipate the behaviour of his material and react accordingly to the idiosyncrasies of each tree. Some are fatty and coarse, while others are more brittle – Birch must approach each with a learned sensitivity. For instance, eucalyptus, an incredibly hard wood, makes the job of sculpting and moulding that much more physical and puzzling.

The installation is arranged in such a way that it may entice the viewer to explore and play with the pieces. They are so much more than just sculptural seating – each has a totally unique presence, defined by its own particular density, patterning, grain, shape and markings; inviting a closer, more intentional look as one appreciates the subtle marriage of material and scale.