Simon Bejer - Artist Statement
A personal introduction to 'And Everything Under the Sun'
Take a look at Frederick De Wit’s map of the world, Nova Totius Terrarum Orbis Tabula (1660). The pouting sun watches over carefully measured continents crossed with precise lines of scale and latitude. Gods and goddesses frolic with gryphons and seamonsters, and Copernicus’ up-to-date model of the solar system shares equal billing with Ptolemy’s from a thousand years before. A talented engraver’s touch lovingly delineated all, an expert painter’s eye and brush brought it riotous colour.
On my first encounter with such treasures in the Sunderland Collection, I was overwhelmed. Overwhelmed not only by the immense volume and variety of colour and form, the sheer density of texts and symbols, but by the collision of the realms of mythology, religion, mathematics, science and art. How is it that these realms coexist, apparently in uncontested harmony? Very little of this layered, complex information was comprehensible to me. That feeling did not trouble me. In fact I revelled in it.
The mystery and obscurity of these images and texts, I realised, were an integral part of their charm. To me it seemed that their value lay in the care and artistry that had been lavished upon their creation. Technical information may soon become out-of-date, but the evocation of human ambition and aesthetic achievement remains intact.
Simon in his Bordeaux studio
I have attempted to imbue the works I have created throughout this project with a symbology of my own. Sometimes, their meanings are clear and direct. Frequently they are oblique and occasionally carry a deeply personal significance. That meaning, however, is not fixed or implicit. The viewer is free to make their own connections, plot their own course through the works and arrive at their own destination.
Apollo (2026) Painted and gilded sculpted ceramic, wood, plastic and metal. 90 x 50 x 30 cm
Secrets of the Sea (2026) Painted and gilded sculpted ceramic, wood and metal. 80 x 70 x 50 cm
Three of my sculptures bear the names of great works of cartography, each a nod to the spirit of exploration, of heroic toil, of trial and, of error. I see each of my works as a proposition, a question. And although the result may be mostly extravagance and folly, I am equally interested in the impulse, the intention that compelled their making, like Johann Bayer’s herculean attempt to map all the stars in the night sky (Uranometria, 1603), and superimpose upon them form and meaning on a human scale.
He could scarcely have imagined the infinite immensity of the universe that we recognise today, and yet, we still toil away to map and achieve the impossible - with uneven results.
Harmonia Macrocosmica (2026) Painted and gilded sculpted ceramic, wood, metal and rubber. 190 x 100 x 40 cm
Uranometria (2026) Painted and gilded sculpted ceramic, wood, fibreglass and printed silk. 270 x 70 x 40 cm
It is my hope that the universe I have created within this exhibition, in response to the multifarious worlds contained within The Sunderland Collection, is a place of surprise, mystery and of wonder. Perhaps visitor to this realm, stumbling upon a tell-tale detail, a recognisable form, a repeated motif, may make connections, that together evoke a sense of being in a layered world.
Our world is still very-much a whirlpool of myth and history, of continually advancing and receding technologies, of information and counter-information, a world scarred by hubris and folly, but also etched by hope and the noble intentions of fallible creatures.
To enquire about available works, please contact arts@sunderland-collection.com
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