Existential Suck emerged from research into Martin Heidegger’s essay The Question Concerning Technology. The works of art seek to build upon Heidegger’s hopes and fears - where are we being led? How can we lead? All works are made from recycled HDPE.
Dan Stewart-Moore, Material, 2018, recycled HDPE, 130 x 130 x 27 cm. Photography: Brenton McGeachie
REALITY FRAGMENT V
Dan Stewart-Moore, Reality Fragment V, 2018, recycled HDPE, 40 x 33 x 15 cm. Photography: Brenton McGeachie
Dan Stewart-Moore, Enframed, 2018, recycled HDPE, 100 x 100 x 50 cm. Photography: Brenton McGeachie
REALITY FRAGMENT III
Dan Stewart-Moore, Reality Fragment III, recycled HDPE, 74 x 56 x 30 cm. Photography: Brenton McGeachie
Dan Stewart-Moore, Form, 2018, recycled HDPE, 130 x 130 x 17 cm. Photography: Brenton McGeachie
Dan Stewart-Moore, Purpose, 2018, recycled HDPE, 130 x 130 x 17 cm. Photography: Brenton McGeachie
REALITY FRAGMENT IV
Dan Stewart-Moore, Reality Fragment IV, 2018, recycled HDPE, 30 x 27 x 13 cm. Photography: Brenton McGeachie
Dan Stewart-Moore, Destining, 2018, recycled HDPE, 150 x 250 x 20 cm (20 pieces). Photography: Brenton McGeachie
Loop acknowledges the contributions of Uriarra Village to the city of Canberra as it celebrated its 100th anniversary. Uriarra Village was the central location for forestry activity and provided most of the timber that built Canberra. The work is composed of 100 wooden trusses that represent the 100 houses in the village.
Dan Stewart-Moore, Loop, 2018, timber, galvanized steel and copper swages, 100 x 5000 x 2500 cm
After living on a remote Pacific island for a brief time, where climate change, poverty and commercial fishing have all but crushed a proud culture; Vestige was the response.
Dan Stewart-Moore, Vestige, 2014, granite (350kg), 50 x 60 x 40 cm
Made from upcycled HDPE plastic, Clouds is a kinetic installation that follows in the footsteps of artists like Panamarenko. These fictitious flying machines contain a powerful algae that sucks carbon dioxide from the atmosphere.
Dan Stewart-Moore, Clouds, 2016, upcycled HDPE, kinetic mounts, dimensions variable
An accompanying piece to Clouds, Shell is a fictional device for absorbing carbon dioxide from the ocean
Dan Stewart-Moore, Shell, 2016, recycled HDPE, kinetic mount, 80 x 180 x 100 cm
The Keeling curve was the first measurement of rising carbon dioxide levels in the atmosphere. Keeling Curve mimics this observation. Using tensegrity the wooden pieces hold their combined form under tension.
Dan Stewart-Moore, Keeling Curve, 2014, timber, stainless steel, 40 x 100 x 100 cm
Adaptive Paradox is a study of tetrapods. These giant concrete objects are designed to protect infrastructure such as roads and buildings from the sea yet many developed nations have covered their coastlines in these objects, accelerating the effects of climate change, including sea-level rise.
Dan Stewart-Moore, Adaptive Paradox, 2013, timber, glue, 40 x 40 x 40 cm
The Seventh Wave
In surfing culture it’s said that the seventh wave in a set will be the one to catch.
THE SEVENTH WAVE
Dan Stewart-Moore, The Seventh Wave, 2010, painted steel, 20 x 40 x 30 cm
Building to a Storm
A skyline of construction cranes meets the clouded horizon. A metaphor for the anthropocene?
BUILDING TO A STORM
Dan Stewart-Moore, Building to a Storm, 2010, painted steel, 60 x 40 x 25 cm
Dan Stewart-Moore, Cloud Concerns, 2011, painted steel, 3 pieces 200 x 130 x 40 cm
Waiting & Watching
In 1968 Garrett Hardin published his theory of the Commons Dilemma. It states that when a resource is available to all people it is liable to be exploited. His study was looking specifically at agricultural land use, but its application to our atmosphere and oceans are equally appropriate.
Dan Stewart-Moore, Waiting, 2011, painted steel, 80 x 170 x 15 cm
Dan Stewart-Moore, Watching, 2011, painted steel, 80 x 170 x 15 cm
Curried Egg Sandwich
Exhibited at the Montalto Sculpture Prize, Curried Egg Sandwich is a panted steel sculpture.
CURRIED EGG SANDWICH
Dan Stewart-Moore, Curried Egg Sandwich, 2009, painted steel, 160 x 100 x 50 cm
The Mollusc that ate the Harbour Bridge
Created for Sculpture by the Sea Bondi, The Mollusc that ate the Harbour Bridge provokes questions about our relationship with nature, in particular the sea.
THE MOLLUSC THAT ATE THE HARBOUR BRIDGE
Dan Stewart-Moore, The Mollusc that ate the Harbour Bridge, 2007, painted steel, 120 x 430 x 110 cm
Dan Stewart-Moore, Egg, 2005, painted steel, 120 x 40 x 40 cm
Dan Stewart-Moore, Collaboration, 2005, painted steel, 70 x 170 x 35 cm
Dan Stewart-Moore, Clam Radiator, 2006, painted steel, timber, 35 x 35 x 12 cm
Dan Stewart-Moore, Helix, 2006, painted steel, timber, 170 x 150 x 190 cm