My current studio practice includes the construction of three dimensional objects that interrogate the visual aspects of form: the angle of incidence of a plane or line in space, the translucency of a particular surface or material. I also make two dimensional paintings that analyse the structure, form and materiality of these objects. These two approaches are intrinsically tied to one another by an interest in the structural make-up of a form and a form’s relationship to the viewer or user of that form. Specifically, I am interested how these forms and their subsequent disruption through a shift in the position of the viewer or user relative to that form challenges cognition and spatial apperception. That these relationships take place in time is something I am trying to reflect in the work via the use of multiple-exposure photography and the recent development of the deployment of large spatial constructions that comment on, obscure and partially reflect the composition of the drawings in front of which they operate. These constructions, painted floor to ceiling wooden frameworks, aim to partially obscure the object of attention (the drawing) and induce in the subject a requirement to move in order to remove the framework from the field of vision. The frameworks are also designed to operate as a key to the drawings in that they contain elements that reference the drawings composition, creating a desire to cross examine the arrangement of form and line in both the two and three dimensional aspects of the work. A line’s ability to describe form as well as be form at one and the same time, to be an edge and a point of connection seems apposite here. I have recently resumed making large scale wall drawings that engage directly with the space of the room. Due to their size, floor to ceiling and at least that distance wide, they employ the body of the maker in their construction and the body of the viewer in their reception. These relationships: the body to the painting; the painting to the wall and room of which it’s part; the wall and room to the body, are mirrored in the body’s interaction with the built environment.
Occasionally, the objects that I make and the images that are generated from them are recognisable as things in the world, that is as objects we use on a day-to-day basis such as a chair or a screen or an hourglass timer. These objects are meant to generate a sense of purpose or use-value normally associated with the everyday as a means of establishing a feeling of familiarity and reminding the viewer or user of their own body relative to the form in question. Thus scale is important to my work and architecture and the built environment a reference point that I readily use to establish size, distance and pictorial depth. I take inspiration from architecture and sculpture that engenders a kind of kinaesthetic response whilst performing a directorial role in asking to be used in a particular way.
An ongoing interest in artist’s films from the 1960’s and 1970’s, in particular Richard Serra’s films of lead being manipulated, Robert Smithson’s films of the landscape and the navigation of his own work, Hollis Frampton’s visceral colour experiments and Michael Snow’s investigations into filmic descriptions of haptic sensations, influence my work in their existence as a unique bridge between forms of spatial and temporal expression.
Finding new spaces and places to make, build and exhibit work that questions the status of both the object and the space and challenges kinaesthetic and psychological behavioural patterns is key to my current investigation.