Finn Ferrier
Finn Ferrier
May 2024
Can you speak of the relationship/connection you have with the rope vessels and how this ties together with life on the sea. Is there an ancient mariner in Finn Ferrier?
The narrative around rope and the sea is more of a framework than anything. All of my rope-work began as an exploration of our human relationship with the material. Rope is mostly a practical object that is expected to perform under pressure, save lives, tie things down and make things secure. I was drawn to how within nautical culture rope also has a decorative side. So I developed this work as a kind of logical progression of knot-work.
On top of this I am conscious rope and fibre is probably the oldest materials in human existence, I love that every culture in the world has a relationship with threads. And that a simple thread can become so many things.
I don’t consider myself a fibre or textile artist, rope is just a material I am working with at the moment.
Do you have an intended functional outcome for the rope work before setting out?
I make two types of wares, one where I am trying to recreate traditional forms like bottles, jars and vases. The other series of work I work with the material nature of the work and let the technique alongside the material become agents in the final piece.
While I am making these I try to include the rhythms of the environment, like the expanding whorl of a shell or other slow patterns you see in nature. Most of my pieces I make out of one continuous thread; so I have work in a way that means the rope can follow itself. I love how a single line can build on itself becoming a sculpture in space. I only use tension and friction in my pieces, definitely no glues.
These pieces are intended to function as strange objects that connect with our material pasts.
Do you encounter any fears throughout the making process, or are your hands simply too busy?
I am always making something, whether it is bread, a construction or my ropeware, my mind is engaged with the ideas around the thing I am making. I tend to think about the histories contained with a material or form. I think all art should help us think about other, bigger ideas. But mostly when I am working with rope I am counting and feeling the tension of what I am doing -its very tactile. I’m constantly appraising what I am working on, and if it is no good - I pull it apart and start again. I enjoy the process of taking a formless length of rope and giving it form.
What is your first memory of making art? What did you make?
Growing up I was allowed in my dad’s shed to make things. I guess when I was about 10 I started making objects for my own reasons. I was obsessed with making wooden objects on the bandsaw, I cut figures inspired by archaeological items from the Auckland museum, and I also snipped sheets of copper into emblems. These were just the materials I had at hand. One of my favourite memories was making a model submarine and to make it float beneath the surface my dad melted lead and poured it into a groove on the bottom of my submarine. It worked really well. And i loved the danger of molten lead. I still have this.
Do you have a favourite piece of art? Would you part with it?
Hmm. I often think about this. I love my collection of natural curiosities - ventifacts, curious bits of wood - as much as I love paintings and sculptures. I tend to look for artwork that is imbued with the process - either the process of making or the process of thought. I spend a lot of time looking at the works on my walls and in my cabinet. And I love owning works by my friends, I probably think about them more than they will know.
Does working with multiple materials/process come naturally to you?
Imagine that we, like animals, come with skillsets. Like a bird can build a nest, I believe it is our nature to make too.
Making for me is like a degustation menu. I want to try everything. For the sake of trying, but also so I can understand the various languages of art.
Trying a process for the first time is humbling and through doing you learn about the qualities of particular materials - I love the feeling of exploration. I make a lot of art I never exhibit - often i enjoy just being in the flow of the creative process of experimentation.
Most recently Stephen Brookbanks has been encouraging me to weld and braze metal. It has taken me a long time to be able to ‘think in metal’ but I’m getting the hang of it. Brazing is a lovely technique found in jewellery making - you have to carefully heat the metal and suddenly the solder flows and your item is made. I have made all the lamp arms in this exhibition and object mounts. The metal armature is designed to compliment the gravity of the rope. I’m looking forward to doing more work with rope and metal - this is my first foray into this area.
The lamps are designed to be hung low over a coffee table. They are referencing fishing rods.
What do you think about the NZ art scene right now? Any excitements or concerns from your perspective as you’ve been involved for many years?
Working in the arts community is a wonderful place. I think we are all lucky that the culture of attending openings is such a strong thing, I really enjoy not knowing who will turn up but going along for the conversation.
Making art is often done in the far corners of the day, and often in private. It’s great being able to bring a body of work together and exhibit it. It’s important to have a good mix of gallerists, artists and collectors.
I can see your work is very mediative, (process and artwork itself…) do you have any messages you wish to convey with your sculptures in particular?
I use raw cotton rope as a meditation on the purity of material, like stone, or wood, or bronze, i allow the rope to take the centre next to the idea.
Hopefully when you look at my ropeware your eye flicks between seeing the rope and the form. Between the material and what it has become.
