Noumenon is a biomorphic black and white marble sculpture series inspired by Gogottes, ancient formations from Fontainebleau, France. Drawing from Immanuel Kant’s concept of the thing-in-itself, and the medieval text, The Cloud of Unknowing, the sculptures explore the limits of understanding through the mind alone, and the false duality of black and white reasoning. Noumenon presents a visual conundrum, inviting contemplation of the elusive nature of objective truth.

Noumenon utilizes unique, parametric forms with a layered, black and white, epoxied block of stone, resulting in a dynamic, idiosyncratic sculpture that transforms visually depending on the viewer’s perspective. This unique process introduces a distinctive approach within the world of sculpture.

The most challenging aspect was designing to exploit the layered marble’s properties while ensuring compelling visuals from all angles. Preparation involved precisely sawing and epoxying the layers into a cohesive block for milling. During sculpting, the softer white marble’s tendency to chip required meticulous attention and adaptive techniques. Balancing material challenges with the aesthetic vision was essential, resulting in a sculpture with dynamic presence and visual complexity.

Carolyn envisions this sculpture as an invitation for viewers to delve into a nuanced exploration of different perspectives, challenging viewpoints and inspiring thoughtful consideration. By engaging with the piece, she hopes audiences will uncover layers of meaning, encouraging a dialogue that bridges art, culture and individual interpretation.

Art Practice

Carolyn’s practice merges traditional craftsmanship with technology to create abstract, biomorphic forms. Using tools such as three dimensional design software and printing, and a seven axis robot, she explores complex geometries that were once almost inconceivable to realize. While technology plays a central role, all of her work is ultimately hand finished, blending precision with the meditative intimacy of traditional techniques.

This approach was named Digital Stone by her mentor Jon Isherwood. Carolyn follows the legacy of Isherwood, Tony Cragg, and Helaine Blumenfeld OBE. She admires the work of Jean Arp and Henry Moore, whose explorations of organic abstraction resonate with her vision. Isherwood, notably, was left with a lasting impression from Moore, inspiring a lineage of artistry and innovation that informs her practice.

Her sculpture also draws inspiration from Gogottes, natural formations of calcium carbonate and quartz found in Fontainebleau, France, dating back 5,000 – 8,000 years. These forms, seemingly alive and in motion, embody the illusion of vitality within stillness, a dynamic tension she aims to capture in her work.

Over the past decade, Carolyn has developed an intuitive digital sculpting workflow through extensive research and experimentation. Surprisingly, designing in computer aided design is as time intensive as sculpting in traditional materials, requiring thousands of iterative decisions. Like direct stone carving, the process demands critical choices to refine the form.

The ability to conceive the sculpture in its entirety before any material is touched eliminates waste, and enables the use of previously discarded or irregular stone blocks. This process allows for a deep connection between concept, material, and craftsmanship. The hand finishing stage becomes a contemplative act, imbuing the work with a sense of wonder and discovery she hopes is reflected in the final piece.