Brandon Lomax’s sculptural works explore the reunion of humanity. Nuclear families, partnerships, populations, mutations, and spiritual and social cliques tend to cluster into groups, thereby factionalizing society into parts.

Lomax examines these primal human practices, seeking to remind the parts that they are of a much greater whole. The work seeks answers to the same intangible questions asked by humans throughout history. Coupling a primitive technique and aesthetic with a background in anthropology, Lomax draws inspiration as much from the anonymous ancients as he does from modern masters like Alberto Giacometti and Henry Moore.

This body of work is a fated return to his original studio practice. While studying ceramic sculpture at university, he was known for making unconventional vessels that looked like they were struck by lightning or in the direct path of a tornado. He shelved these ‘impractical’ sculptures, never connecting them with his anthropological studies at the time. He broadened his studio practice to multiple disciplines, exhibiting large-scale paintings on canvas, metal and wood, and experimenting with light, sound and three-dimensional wall sculptures. He traveled extensively across the Americas and Polynesia, exhibited works in Europe, Asia and America and was selected for a residency on the island of Lamu, one of the oldest Swahili settlements in Africa.

In every place he visited, he noticed human commonality. Whether across the globe or in the next town over, humans were more alike than different. Lomax began finally to understand the meaning behind the forms he started creating years prior. Guided by tandem family experiences of birth and death, he returned to his clay practice. This work meditates on the changing roles as humans throughout the life cycle and the transformational nature of human consciousness in this world and beyond.

The sculptures are sometimes installed with shadow-scapes, referencing alternative realms, home to those who have come before and those yet to come. With touches of whimsical innocence, he offers an alternative to the selfish complexity of human experience. While the work does not provide the cliff notes on life or leak the secrets of the Universe, in it, you can sense the ineffable and ephemeral whispered without words, idols or costumes. This is the Artist’s attempt to understand the cyclicality of life and our place within it.