“Arrival” Neil Cap  2009

An exploration of figurative elements, the alien again entering the work. The captured exists, with the piece mounted, and the possibility of carcasses displayed.

“BOX” Neil Cap 2005

This box is based on the idea that other boxes exist that are hundreds of years old, and are owned by people in powerful positions, politicians, doctors and bureaucrats’ alike.

These people use these boxes to make decisions about life and death, politics, wars etc.

Each box contains; a wooden frame, three dice in a small bag and a blindfold. When someone in power has to make a decision they take out this box, open it put the small frame together and then blindfolds themselves, then only when blindfold they take out the three dice from the bag and roll the dice, once rolled they place the dice in the small frame. Once the dice are in the frame they can remove the blindfold. This allows them to read the three dice without seeing the other sides of each dice. However the dice fall tells the user which decision they should make. Unknown to the user of this box each side of the dice are blank, and a completely blank reading on the dice means whoever is asking the box for a decision can do whatever they like.

What I am looking at here is how decisions affect our everyday lives and how those in power can use that power to corrupt and gain more power.

“CAPTURED” Neil Cap 2005.

I began to use computers more and more in my work, noted within the “Captured” work using computer generated 3D images of the sculpture I was working on.

I had used the 3D software before, for many projects but this time I did most of the design work in this virtual environment.

The theme here developed within the software was one of governments finding life forms and imprisoning them inside open sided frames. I was looking at the relationship between the manmade forms and the organic shape inside, juxtaposing them together to see what would happen. I envisioned these prisons to be deep underground in some secret bunker, thousands of them each containing some unknown form of life.

I also created an animation using this software. This stepped a little away from the dark government bunker idea, as I used more coloured lighting within the animation. (“V” 2005)

As I developed the work further, I was beginning to look at the sculpture as an echo of myself; the manmade like framework being the prison of my mind and the embryonic form; my soul, I guess (and this ties in with later work) I was also seeing the embryonic form as a child and my instinct to have children of my own has been powerful. This thought though was not something that seemed to be in the forefront of my mind while creating, more so a sub-conscious journey, that became evident when the sculpture was completed.


‘Dark Matter Spheres’ came about as a way of combining the Possible Worlds theme with a similar one. Astronomy, the universe and creation in general. This idea was one that just seemed to appear to me as a lot of my work can do, there seems to be no conscious process involved, but I guess again on some sub-conscious these flashes of ideas may have a basis in something I have seen, read about or interests I have.

“ESCAPE” Neil Cap  2009

Though the white object is still captured, there is a beginning of release. An escape from the oppressive form, dealing with how one can find a way to overcome confinement, not just within the physical world, but also within one’s mental state; maybe a harder place to escape form.

“EVENTUALITY” Neil Cap  2009 A series of four works.

A continued study of capturing forms within another form.  An eventuality of life, one soul captured within a framework, a vessel, possibly the human body, or the confines of physical existence.

“FAMILY” Neil Cap 2007.

I started this year 2006-2007 with the idea of using plastic bottles, containers, and any plastic objects that would fit into my vision of creating; creatures based on themes from films, such as Alien, War of the Wars etc. I find production design within film and television very interesting and wanted to pursue my ideas with this production design template in mind. I very soon decided that this approach was not going to work and I feared that the end sculptures would just look like plastic bottles glued together. Still with this idea of creatures from films in mind I started to look at ways of creating them in abstract forms. I also began to see these objects as God like in nature, some kind of oppressive beings watching over the human race. I kept thinking of the film designs and began to make maquettes that echoed closer to the creatures designed by HR Giger, and the tripods from The War of the Worlds. Though still keeping that simplified abstract essence to them. These maquettes seemed more alive, more insect like, even dinosaur like in form. My son was born on the 20-02-2007. When I combine this with looking back over my work, I can see the pattern in the chaos, not just one of looking at science, the universe, but one thing I have always had in the back of my mind. Creation and the creation of life, a child. The child was born; a direct combination of the parent forms, taking elements from each one to make a new life. As these figures had become more human to me, a great change to the work appeared. These forms were no longer oppressive beings, the god like form gone, replaced by a family, yes alien in presence, but having an underlying human essence. The combination of all three forms standing together allowed me to again look at the shadows they were casting, I came up with the idea of creating a semi-circle exhibition space, which would allow me to have  two fixed points of light that cast shadows of the work. This returns to the feeling of movement I wanted at the beginning of this sculpture, though static one can almost feel the movement as one walks around the work.

“HOST” Neil Cap 2008.

When we glance at our small humble planet, most people do not look beyond what they can see, blinkered with not only their physical senses, but also with their knowledge of existence, creation, the environment and life itself. Continuing from previous ideas of invasion and an entity taking over, an oppressive presence, similar to the ideas from the beginning of the “Family” sculpture, though this time these ideas of invasive forms held true, but still changed a little into other possibilities, not just an alien incursion, but the possibility of mankind’s destruction and environmental sickness. The possibility of Natures vengefulness and its opportunity to create an insurrection against climate change and its causes, war; the world’s political insecurities, bacterial, viral, disease based infection and the growth of plant life. If I add the words “cancerous form” here does this envelope negative and though this sculpture touches on many levels of our world today, I feel this work has a more positive structure, one of hope maybe? Hope that through an implied change our existence will become enhanced. The idea of a host/parent entity, appearing at a location on Earth, and from this, parasitic forms begin to manifest themselves, beginning at a localised state then growing beyond their constraints, attaching themselves to places in the surrounding landscape, over time appearing at points expanding outward continuing to occupy the environment. I see this work as a continuation, with the host remaining fixed feeding the parasitic forms that grow not just within a local structure but appearing all over the world, becoming a global sculpture. To touch on my influences for this work my love of film and the production/set design of science fiction films and television is always stirring within my thoughts and the endless possibilities that can live within this medium.The changes in scientific discovery, our place in the universe and the possibility of another conscious mind beginning to create change, against a polluted society.

“SOUL-TOTEM” series 1 Neil Cap 2009

Series of 4 works, returning to capturing the essence and being of the artist, though this time the artist allows his being to be purged from the object, passing over the totem to whomever is in the presents of the sculpture. Only one essence/soul can embed within the piece, continuously being captured and reborn.

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