When writing blurbs or bits and pieces for galleries, agents and articles we often describe my husband’s work as minimal, referencing the sixties minimalistic movement and stripping the human form down to the bare essentials.
In my own recent quest for minimising the home, trying to contain our family in a small northern English terrace house, I discovered Greg McKeown’s book “Essentialism, The Disciplined Pursuit of Less.” Just a few pages in it dawned on me that, the way of the essentialist, is very much the way of the sculptor. ‘The relentless pursuit of less but better. It doesn’t mean occasionally giving a nod to the principle. It means pursuing it in a disciplined way”.
Originating from Aristotle, the term ‘essentialism’ is the idea that everything has an essential nature to it. Plato, too was one of the first essentialists, believing in the concept of ideal forms.
Our youngest has asked a few times, “Why don’t you do arms Baba”. The sculptor answers making the point that they aren’t necessary. I have heard him speak about how Egyptian sculpture lasted longer than Roman sculpture because there were no weak points. An almost ideal form that could remain. Roman sculpture today stands without arms because they have been lost to the elements where as the ancient Egyptians made no gaps between arm and torso. The Egyptians knew what was essential but also had a style that would remain in tact. It is in the taking away that more is added, and in this case time.
Not only does my husband sculpt in an essentialist way I feel he lives his life to that aim. He lives by design (pardon the pun) perhaps it goes hand in hand, he is so ruthless in his pursuit of sculpting and because he is not yet a full-time artist his time has to be used to purposefully. He has a, “disciplined, systematic approach for determining where his highest point of contribution lies, and then his execution of these things appear to be almost effortless”. That effortlessness makes it easy to think that it is un-challenging or un-demanding and consequently, I become forgetful of how hard he works.
In this journey from realism to the minimal my husband’s work takes away all that is not essential to the story he is telling. “An Essentialist thinks almost everything is non-essential”. For the pieces are like three-dimensional stories in a very contemporary, minimal form. Play is an important part of our development because it doesn’t just help us to explore what is essential. It is essential in and of itself. My husband’s work is playful in the use of colour but also the shapes and themes which are provoked.
‘The essential life is living a life that really matters, a life lived without regret. If you have correctly identified what really matters, if you invest your tie and energy in it then it is difficult to regret the choice you make. You become proud of the life you have chosen to live.”
In short, I think Sam Shendi is up there as one living an essential life and consequently his master pieces mould into an art movement of Essentialism. Then of course I should say, it is essential that they are seen, that the work is viewed and appreciated by the many. This is what the sculptor is working so hard to achieve.