Bruce Lindsay’s sculpture takes familiar objects from nature and by changing their material through the arduous process of casting in metal and glass produces artworks that arrest the sense of loss that the passage of time can bring. Items on the brink of decay, such as driftwood and leaves are rendered permanent in stainless steel and bronze. Their moment of departure in the crucible of casting is meticulously recorded in materials that are profoundly permanent. In the sculpture “Being Book” an ammonite fossil is transformed into a glass book that lives on in time. “Being Book” is not an elegy to a dead ammonite, but rather a celebration of the beauty and persistence of life spoken through the nature of materials.
Bruce Lindsay’s life-size cast bronze figurative sculptures are allegorical representations of concepts drawn from a philosophy of Tibetan Buddhism. Archetypal forms both masculine and feminine are combined with symbolic biomorphic abstractions, and thus embody the integration of spirit and matter. In “Use of Memory” (2001) the attraction to physical nature is a burden, and impedes the expansion of love beyond desire. A counterpoint is seen in “Attainment of Bliss” (2011), wherein the winged element is offered to the sky. The white bismuth nitrate patina was chosen as an allusion to the feminine divine. Each of these figures represent a heartfelt call to liberation.