{"id":68080,"date":"2025-02-04T16:09:44","date_gmt":"2025-02-04T16:09:44","guid":{"rendered":"https:\/\/peraltafinancing.com\/entertainment\/art\/tom-waugh-the-ghost-of-consumers-past\/"},"modified":"2025-02-04T16:09:44","modified_gmt":"2025-02-04T16:09:44","slug":"tom-waugh-the-ghost-of-consumers-past","status":"publish","type":"post","link":"https:\/\/fivemor.com\/?p=68080","title":{"rendered":"Tom Waugh: The Ghost of Consumers Past"},"content":{"rendered":"


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By juxtaposing the permanence of stone and marble with the transience of disposable objects, Waugh sparks an open and dissonant dialogue between piece and ponderer on consumerist culture, material value, and social norms.<\/p>\n

By Sophie Heatley<\/span> | 16 Jan 2025<\/p>\n<\/div>\n

\n

When curating\u00a0The Sound of Form<\/i> exhibition, previous Rise Art Prize winner Tom Waugh<\/a> immediately came to mind. If you\u2019re unfamiliar with Waugh\u2019s work, I highly recommend reading up on his practice and process. The sculptor transforms traditional materials, such as marble and stone, into hyper-realistic representations of ephemeral objects like cardboard boxes, blister packets, and plastic cups\u2014the things we use once and then discard, oblivious to their ultimate destination as they pass from our hands to the eager, hungry mouths of our bins.<\/p>\n

\"Tom<\/a>
Tom Waugh<\/a> in his Bristol workshop<\/figcaption><\/figure>\n

By juxtaposing the permanence of stone and marble with the transience of disposable objects, Waugh sparks an open and dissonant dialogue between piece and ponderer on consumerist culture, material value, and social norms.\u00a0<\/p>\n

It is hard\u00a0not<\/i> to be drawn into the immense sensory dimensions of Waugh\u2019s work. The intricate details in his\u00a0Anthropocene<\/i> series preserve the fleeting imprints of human use, almost like fossils of our consumption. There is a documentary feel to each of his sculptures, ranging from crumpled \u2018cardboard\u2019 boxes to wheelie bins, without being factual or historical. They overtly challenge our understanding of waste culture without directly explaining anything at all\u2013 my favourite kind of intellectual confrontation, where you don\u2019t realise you\u2019re being provoked until you\u2019re too deep in thought to turn back.\u00a0<\/p>\n

\"Tom<\/a>
Crushed Box by Tom Waugh<\/a> (Salvaged Portland Stone, 2012, 18 x 25 x 25 cm) SOLD<\/figcaption><\/figure>\n

There is also an almost magnetic subtlety to their storytelling; each form carries a resonance that feels like a memory\u2014perhaps of the things we, as consumers, have carelessly misused, underused, or left untouched, still in their packaging, before donating them to the local bin men. Out of sight, out of mind. The hyperrealism is\u2026 unreal. The dusty, rusty appearance of ironstone, the polished, manufactured sheen of white marble\u2014expertly smoothed or encrusted by Waugh\u2014are uncanny. It\u2019s only when you move closer to the piece that you realise these aren\u2019t discarded relics from yesteryear but exquisite representations.<\/p>\n

\u201cI love seeing the shift in perception when people engage with my work. When someone sees a cardboard box in a gallery, it often reinforces their prejudices about contemporary art. But then they touch it, interact with it, and realise it\u2019s so much more than meets the eye. Something they thought was worthless suddenly becomes profound and takes on a new meaning; something valueless becomes incredibly significant.\u201d<\/p>\n

\"Tom<\/a>
Tom Waugh working on Big Pharma III<\/a> (Carrara Marble, 2023, 50 x 38 x 33 cm) ENQUIRE<\/a><\/figcaption><\/figure>\n

Size matters too. Larger-than-life works have a slightly different impact, blending the boldness of Pop Art with an unexpectedly Greek archaeological quality. By immortalising waste objects in materials of high value and amplifying their scale, his work transforms the mundane into the monumental. After viewing them, there is this strange moment when you can’t help but think:\u00a0Wow, this is what the future \u2018us,\u2019 in the Year 3000, will be unearthing.<\/i> Just as we\u2019ve excavated The Rosetta Stone or, I don’t know, Knossos in Crete, imagining our ancestors\u2019 reverence, they\u2019ll dig up our rubbish and think we worshipped it, that we sacrificed ourselves for a plastic bag. And honestly, they wouldn\u2019t be wrong. I love this tension\u2014it\u2019s eerie and endlessly fascinating.<\/p>\n

\"Tom<\/a>
Big Pharma III<\/a> (Carrara Marble, 2023, 50 x 38 x 33 cm)<\/figcaption><\/figure>\n

Anyway, I digress. Yes, on observation, there is the memory it stirs. But then there is something else\u2014equally neurological, perhaps, but more imaginatively stimulating: the sounds they seem to emit. It\u2019s as if the pieces are saying,\u00a0\u201cHello, it\u2019s me, that plastic cup you thought you\u2019d got rid of but actually just passed along for someone else to deal with.\u201d<\/i><\/p>\n

Waugh is no stranger to the terrifying waste mountains that accumulate across the globe\u2014tidal waves of rubbish stretching endlessly across beaches, children scavenging scraps of metal, unwanted pens, and discarded parchments from last month\u2019s waste spree, selling them to local makers. A quick asterisk moment: during university, Waugh spent time in India on an exchange programme, analysing and learning the traditional techniques of Indic carving, where he encountered some of these scenes.<\/p>\n

\"Tom<\/a>
Big Pharma Empty 4<\/a> (Bianco P Marble, 2025, 32 \u00d7 48 \u00d7 6 cm)<\/figcaption><\/figure>\n

But back to the sound. Stone and marble are, by nature, silent and enduring materials, yet Waugh\u2019s works suggest a narrative\u2014or even an imagined \u201csound\u201d\u2014through their subject matter. The rattle of pills in\u00a0Big Pharma III<\/i>, or the satisfying crunch of foil in\u00a0Big Pharma<\/i>. Wassily Kandinsky once said,\u00a0\u201cNo matter how abstract, every form has its own inner sound.\u201d<\/i> Here, too, another tension: the physical, unyielding permanence of the piece contrasts with the sensory experience it conjures.\u00a0<\/p>\n

I feel this soundscape deeply when observing these works; the hum of all the things we\u2019ve left behind or overlooked, coming back to haunt us. The silence of these ghostly remains speaks louder than words. Waugh doesn\u2019t need to colour them with explanations, anyone with an ounce of empathy for the planet will feel a rumble of guilt, of unease, the echo of something needing to change before it’s too late.\u00a0\u00a0<\/p>\n

You can see works by Tom Waugh until April 2025 via our virtual gallery as part of our latest showcase,\u00a0<\/strong>The Sound of Form<\/strong><\/i>.\u00a0<\/strong><\/p>\n<\/div>\n\n","protected":false},"excerpt":{"rendered":"

By juxtaposing the permanence of stone and marble with the transience of disposable objects, Waugh sparks an open and dissonant dialogue between piece and ponderer on consumerist culture, material value, and social norms. By Sophie Heatley | 16 Jan 2025 When curating\u00a0The Sound of Form exhibition, previous Rise Art Prize winner Tom Waugh immediately came […]<\/p>\n","protected":false},"author":1,"featured_media":68081,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[100],"tags":[14088,14089,14091,14090,36245,23472,5485,1830,14093,14092,3178,36243,14094,31097,1281,36241,2108,36240,36239,36242,36244,36246],"dealstore":[],"offerexpiration":[],"class_list":["post-68080","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-art","tag-art-articles","tag-art-blog","tag-art-events","tag-art-news","tag-consumerism","tag-consumers","tag-ghost","tag-iron","tag-latest-art-releases","tag-latest-news","tag-marble","tag-montcalm","tag-online-art-gallery","tag-political-art","tag-stone","tag-the-sound-of-form","tag-tom","tag-tom-waugh","tag-tom-waugh-the-ghost-of-consumers-past","tag-virtual-exhibition","tag-waste-culture","tag-waugh"],"yoast_head":"\nTom Waugh: The Ghost of Consumers Past - Som2ny Network<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/fivemor.com\/?p=68080\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Tom Waugh: The Ghost of Consumers Past - Som2ny Network\" \/>\n<meta property=\"og:description\" content=\"By juxtaposing the permanence of stone and marble with the transience of disposable objects, Waugh sparks an open and dissonant dialogue between piece and ponderer on consumerist culture, material value, and social norms. 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