These sculptures continue to channel his first-hand experience of psychic wounding inflicted by personal trauma, around themes of sexuality and gender into the more impersonal and largely unstable area of political and social forces.
His work investigates the victim and perpetrator continuum bound together as one entity in an eternal symbiosis. His current sculptures may still show his concern with the dark side of sexuality and gender, but his modus operandi has as moved light years away f rom the drama of raw, cathartic blood-letting – ashy and scabby bandaged surfaces – that characterised his earlier work.
In their place are the highly polished surfaces that have more in common with the slick ducco finish of a high-end sport car – not a speck of dust in sight. It’s the pornography of trauma in pastel shades.
Apart from three figures, “Egress” and “The Orchestrator” which are both self-portraits and “Varaahi” a pig like creature with a blunted face, all the sculptures involve the manipulated, amputated female form as victim and conduit.
The sculpture “Egress “could be interpreted as the portrait of the artist as a child. His little sputnik shaped body is armless, supported by the spindly legs of a tripod. His face is tattooed with the dark glyphs of Blom’s private symbolic language only known to him; his mouth is plugged closed with a perforated nozzle. Speech is not Blom’s natural metier. The capsule of his body is crowded with warring toy soldiers. We catch a glimpse of them through the sputniks fogged walls.
Ironically “Egress”, which means to leave a place, will never move from its fixed base. From a steel pipe in the child’s middle some unseen vital essence will continue to drip into a drain in the base of the sculpture carrying the words “exit only” from.
If Blom were a creature he would be a pale gecko, gentle and extremely sensitive, so transparent you could see his inner organs and hyper vigilant looking at the world through the palest of glass green eyes.