Throwing Object (Burr elm, wren and bronze) transforms the viewer into a participant in its natural beauty and crafted allure. The organic form of honey coloured elm feels like it has been freed by the hand of the artist and the touch of the visitor, with the worn glow of patina we might see in an ancient church pew, smoothed by generation after generation. With carved hollows for the fingers it is designed to be held and has a visceral, irresistible, gravitational pull. Once held it feels comforting as the object’s centre of gravity aligns with your own, like a divining rod for the soul. This piece containing a small bird and held together by bronze fits comfortably in two hands as an object of contemplation or in the violent trajectory of one, it becomes a superbly balanced to “psychic weapon” of protection. The aged wood, once living bird and a metal, comprised mostly of conductive copper, create a unique flight path of intentionality and energy. The form feels organic but also like a human artefact and its gravitas can be felt in the ambiguity of its potential use. It is weighted in the interchange of crafting its two halves; for defensive action on the one hand, or meditative thought on the other; tendencies for creation or destruction which are both equally generated in moments of connection between Mother Nature and our own nature(s) as human beings. All of these associations flow from the intimacy, duality and ambiguity of an object which is not sculptural or a visual art in the traditional sense, but connecting with something deep, subconscious and essentially primal through the universal language of touch and collective memory. Georgina Coburn September 2016