My practice seems increasingly driven by the accommodation of perceived paradoxes including: the singular form with both unity and variation, the invisible object, and explicit perceptual ambiguities. This has resulted in a shift from weight, mass, and opacity to space, light, transparency, and translucency.
Light and the ability of translucent and transparent form to capture it have become crucial: with edge and membrane equally significant for the definition of geometry and the creation of illusion and ambiguity. Recent sculptures respond to light in unexpected ways; the inflatables project ephemeral shadows and reflections, whereas the resin forms appear to glow mysteriously from within, sometimes casting luminously colourful hues over their surroundings. Form as a vehicle for light and colour. Sculpture that draws.
My primary aim: the creation of singular forms with variation and unity, is made manifest by subtly deflecting the geometries of elemental forms including ellipses, cones, derivatives of the figure of eight, and the torus. Singular external geometry, defined by the circle or ellipse, often restrains internal geometry that implies the emergence of a duality, oscillation, and endless continuity. Additionally, the inflatable sculptures are accelerating an ongoing exploration of the relationships between internal and external space. In particular, they question what is the true interior – the space trapped within the PVC skins or the holes and chambers passing right through them? Intriguingly, they have also introduced an unforeseen and hitherto absent element of the site specific to my practice through the containment of a location’s air, responding to its ambient air currents, and by drawing reflections of the surroundings onto their surfaces.
Overall, I hope that the sculptural combination of materials and geometry provokes the emergence of a dynamic, rich, and complex experience from what appears, on first inspection, to be utterly simple.