PeteWritings

"...Blizzard's rock comes from around Ballarat and is not carved or fashioned in the figurative, volumetric sense (like Michelangelo), but combined in steel and stone assemblages, some, in much the same way as it was found.

Much of this is the slaty sandstone and basalt found around the goldfields that naturally breaks into ragged triangular slabs.

Its intrinsic nature is coarse, heavy, brittle and richly water-stained by sedimentary ochres and minerals. It doesn't carve particularly well, but that is not the intention of this artist.

Blizzard offers it in its natural state, rock as rock, not rock as flesh, flower or fashioned into forms that contradict its naturally intrinsic character.

The steel components of these sculptures funtion as frames, shelves or containers of groups of these, once common, bits of stone.

In pieces such as Plateau Totem and Floating Range they are elevated to something decidedly more sacred, perhaps paraphrasing vessels on an altar.

Perhaps in veneration of natural forms, as an oblique comment asking for a revaluation, and focus on the vulnerability, of our fragile natural environment.

Textural differences are stressed. Bronze and steel are given careful patinations. The overall effect is meant to be touched and enjoyed for its surface richness and diversity.

Blizzard favours the totemic and altar forms - composite shapes that have an impressive front and back, but invariably are too thin when viewed from the ends.......

......What he brings to this genre is an extraordinary high degree of craftsmanship and a deeper reflective editing of form.

What you will enjoy is Blizzard's sense of whimsy in the convoluting waves of steel and a floating cloud-like lightness of form that transforms the inanimate nature of his metal."

Jeff Makin. Herald Sun. August 18, 2003


					Press Cuttings

				"...Blizzard's rock comes from around Ballarat and is not carved or fashioned in the figurative, volumetric sense (like Michelangelo), but combined in steel and stone assemblages, some, in much the same way as it was found. Much of this is the slaty sandstone and basalt found around the goldfields that naturally breaks into ragged triangular slabs. Its intrinsic nature is coarse, heavy, brittle and richly water-stained by sedimentary ochres and minerals. It doesn't carve particularly well, but that is not the intention of this artist. Blizzard offers it in its natural state, rock as rock, not rock as flesh, flower or fashioned into forms that contradict its naturally intrinsic character. The steel components of these sculptures funtion as frames, shelves or containers of groups of these, once common, bits of stone. In pieces such as Plateau Totem and Floating Range they are elevated to something decidedly more sacred, perhaps paraphrasing vessels on an altar. Perhaps in veneration of natural forms, as an oblique comment asking for a revaluation, and focus on the vulnerability, of our fragile natural environment. Textural differences are stressed. Bronze and steel are given careful patinations. The overall effect is meant to be touched and enjoyed for its surface richness and diversity. Blizzard favours the totemic and altar forms - composite shapes that have an impressive front and back, but invariably are too thin when viewed from the ends....... ......What he brings to this genre is an extraordinary high degree of craftsmanship and a deeper reflective editing of form. What you will enjoy is Blizzard's sense of whimsy in the convoluting waves of steel and a floating cloud-like lightness of form that transforms the inanimate nature of his metal." Jeff Makin. Herald Sun. August 18, 2003









				"...he prefers found stone from demolition sites or natural stone picked up in the country. Invariably, it is weathered, aged, chipped or scratched, but always full of character. The steel and bronze, on the other hand, are used precisely - geometrically and sometimes decoratively. He combines these two diametrically opposite materials, the obviously man-made steel or bronze with the stone fashioned by time and the forces of nature, in an imaginative, almost intuitive fashion. ...the silhouette is particularly important in Blizzard's work. Essentially, his pieces are frontal and often of limited depth. Frequently the steel acts as a frame, a support or shelf for the stone, the size of which establishes the depth of the sculpture. Many of these structures have taken on shrine or altar-like qualities, the steel seemingly holding up the stone for reverent viewing." Ken Scarlett, Elgee Park - Sculpture in the Landscape McMillan 2004