Intervention #2 emerges from a sculptural investigation first presented in Metastasize, a group exhibition at the RMIT School of Art Gallery in 2015. The series explored the conceptual and spatial implications of monumental forms appearing to penetrate, inhabit, or disappear into architectural structures.
The matte white sculpture, presented against a corresponding matte white wall, deliberately obfuscates the boundary between object and architecture. This visual continuity destabilizes the perception of where the sculpture begins, where it terminates, and what remains concealed. The work suggests the presence of a larger, inaccessible structure embedded within the architecture, its visible form offering only a fragment of an unknowable whole.
This ambiguity activates the viewer's imagination, inviting the mental reconstruction of a form that exists beyond the limits of physical observation. Operating simultaneously as an architectural intervention, a metaphorical portal and an elusive, self-referential object, the sculpture challenges distinctions between material reality and imagined space.
Subsequently exhibited at Lennox St Gallery during George's solo exhibition Historical Movements, Intervention #2 has since been mounted on a stainless steel sheet, transforming its original architectural relationship into an autonomous wall-mounted composition while preserving the conceptual ambiguity of its origins.
Lungo Abbraccio is a new unique sculpture formed from interlocking stainless steel pentagonal structures, symbolising a long embrace. Each point of contact suggests connection, intimacy and the fusion of family.
The solid stainless steel structure is finished in Fuoco Nero, a heat-driven patination process in which intense surface temperatures force the stainless steel to oxidise in unique and non-uniform ways. The result is a deep, dark surface with subtle tonal variations, ensuring that no two finishes are ever identical.
Group show in the Marinaressa Gardens Venice, ECC and Artpark 2024
Carrying my sculpture to Palazzo Mora after cutting it down in the Giardini della Marinaressa, Venice.
ECC were great hosts, I finally found Palazzo Mora with the help of a Water Taxi.
Martin George | Carrara marble | stainless steel | gold paint | bearings | rotating column
Men in love have been making ridiculous monuments for a long time... I wish to provoke a conversation around how we celebrate love and whether it is encouraged in contemporary Australia.
stainless steel 1/1
The final presentation of lost Isms needs to be sombre, the sculpture is in obvious distress as it lies down close to the ground with cut wounds to the base. I believe that this is where the enquiry becomes most potent, the sacking, the expelling, the cancelling, the display.
Montalto sculpture finals 2016
Martin George
2017-18 Melbourne/ Lorne
aluminium, timber, lacquer
Sculpture 300 x 500 x 500 dimensions variable
interred
Thought structures from Visions SOAG RMIT
http://art.rmit.edu.au/calendar/visions-2/
SITE EIGHT / 17 June to 25 June 2015
Visions presents a selection of work from RMIT Masters of Fine Arts students who explore how we perceive and interpret the world around us. The exhibition reflects upon concepts of identity, spirituality, space and the everyday form in order to challenge our expectations and assumptions of the lived experience. Including a variety of mediums such as photography, installation, sculpture and drawing, the exhibition explores alternative ways in which the vision of an object can be shaped and interpreted, questioning the way we connect with it as a form, and as an idea.
Interred Carrara marble, found weight.
Breaking the neutrality of the white cube gallery and posing questions about materiality and history. MFA RMIT.
Olympischer platz.
The pommel has come home. It has travelled from Europe to Australia and back again for the last time, it has worked hard and it has done well, now to pasture, close to where the magic happened in 1936
Deutscher Hackett | Auction for Lorne Sculpture BIennale 2018
This sculpture went to a wonderful home in Toorak
Credits (Shannon Mcgrath photography , Burrinja cultural centre)
Martin George studio visit
outlining the manufacture of “my public penance” for the Lorne Biennale 2018.
curated by Lara Nichols
Deconstructed Human Dynamism consists of a stainless steel extrusion of a huddled human form placed atop a bronze pallet
My first public Auction in 2015
Martin George : Lot 38
These postcards took on a life of their own, they became a part of the narrative.
Stainless steel, hand burnished, free rotating base
Come and make your loved one a monument.
The streets are covering a goldmine in LA, I can almost taste the success.
Abbot Kinney blvd
Sunbaking near the drains
Collaboration with Zeits
The final part of my series in Venice California, lost treasure.
The Judicious Application of Optimism is a new large-scale work. The piece captures a lounging female form in bronze left only partially visible but with the invitation to participate in an archaeological dig to reveal the work. The piece takes the form of a relic practically and conceptually. This is a relic of a former relationship, memories exhumed through the help of others revealing something beautiful that was buried. Started by the artist, completed once unearthed by the viewer.
Photography © Cormac Hanrahan
Guys often feel like this, the shadow doesn't match the monument.
This experimental collaboration with Raphaela Mazzone uses irony to explore the interlocking narratives of technology, religion and relationship. The broken iPhones replace bread in a communion bowl which is in turn served up on a mass produced TV table, highlighting the interruptive role of technology in our connection to God and to ourselves.
Bronze, stainless steel and kids
2017 | Bronze | Shipping Chain
City of Greater Dandenong
Martin George | 2016
Galvanized sculpture, water feature
This piece was inside and outside.
Credits ( Shannon McGrath photography)
My current enquiry focuses on condensing human dynamism into a sculptural form, framing it through a post human lens. Classical Dynamism consists of a stainless steel form placed atop a marble monolith, I wish to investigate how we can learn about ourselves through the artifacts we leave behind.
Currently on display in Sydney
Montalto sculpture, 2019, stainless steel, Carrara marble
