“The sculptures’ significance is entirely contigent on their setting and relationships to one another. There is no individual titles; all act in concert to construct a nuanced overall gestalt as Moroney employs a Post-Minimalist approach to seriality. Technically speaking ‘Nesting Ground’ is installation art; the modified space of the gallery is as important as the sculptures themselves.”
“Embedded in the concept of a nesting ground is the start of new life and the notion of return, implications Moroney powerfully addresses in the final sculptural grouping, a roughly heart-shaped assembly of forms evocative of a mountain. This, in fact, is the actual genesis of ‘Nesting Ground’, the whole concept from which all the pieces emerged. It began as an abstract clay sculpture which Moroney split into eight parts, slipcast and fired to stone-like hardness. The entirety of the exhibition is based on this finite set. Ironically, the end of the actual exhibition is conceptually the true beginning.”
From: an article by Suzanne de Vegh, Issue No. 67, Ceramics Art and Perception, 2007
