In a very real sense, Hart is wrestling with the capabilities of the production and engineering knowhow available to him, going so far as to invent new techniques. Since 2011 he has been developing his distinctive joining method, a vivid orange organic tangle of toughened rubber tendrils, that allows just enough flex while also giving his sculptures structural stability. Each of these joints is crafted in Hart’s London studio. The initial moulds are carved by hand, he then uses a self designed injection-moulding system to force the rubber into the moulds. Each stage of the process is overseen by the artist to ensure that his exacting standards are maintained throughout.
Ultimately Luke Hart’s practice represents a meeting point between the sculptural and the functional – that is not to say, necessarily, useful or practical. His sculptures exist beyond simple aesthetic or even representational concerns, they are without metaphor; their functionality challenges the idea of the traditional ‘art-object’, or perhaps their artistic endeavour is their function. In this instance, function is about more than use-value. There is a sense of the word, that the physical action performed by an object, can be said to be its function, even if that action is as simple as leaning or flexing.