Steel ball on ink sketch. 13cm x 13cm x 2cm. August 2018
A steel ball placed on a sketch pad in the centre of a radiating vein-like pattern. The reflections in the sphere give the effect of an eye-like form.
The work can be thought of as a study for a floor-based sculpture with a large steel sphere placed on a floor onto which the radiating vein-like lines are applied. It works very well at a small scale however, with the steel ball approximately the same size as a human eye. The intimate size of the small version makes this version quite unsettling, while a larger version would possibly be less unsettling but more visually intriguing (because the reflections in the ball wouldn’t invoke so precisely a human eye).
The initial concept came to me while working on a different project involving a steel ball (but not reflections) on a sheet of paper. I noticed that the reflection of the white paper and the room on the ball gave the impression of the white of an eye and the iris of the eye.
This is one of my prototypes of a mirror-based artwork that I’m developing.
The work consists of four mirrors forming the vertical walls of a cube, with the mirrored surfaces facing inwards. Each mirror reflects the mirror opposite it, including the reflections in that mirror, so the reflections build up to form infinite reflections (or, more accurately, multiple reflections, as the reflections gradually fade due to light loss).
As well as that, where two mirrors meet in the cube’s corners each mirror reflects the other corner mirror, creating a different set of multiple reflections.
In this artwork the design on the cube’s floor forms this image:
In each corner of the cube the semicircle and angled line in that corner is reflected in the mirrors to appear to form the word “OXO”.
Each of these words “OXO” is then reflected infinite times in the other mirrors in the cube.
This artwork is titled “OXO Cube”, as it’s just too good a title to ignore.
A low viewpoint looking into the mirror cube, as below, shows the infinity mirror effect at its best.
Chess: Black Holes
Wood, acrylic, chess pieces. February 2016
In this work I’ve created a chess set out of short blocks of wood.
The first thing that the viewer notices when looking at the work is that the chess board is fragmenting or disintegrating.
Less obvious however is that the chess board is composed only of the white squares. These white squares are the tops of the blocks of wood, the sides of which are painted black. It is the black sides of the blocks that give the impression of the black squares of the chess board. The seeming existence of the black squares is a visual illusion, as they are nothing more than black holes. See the photograph below. The illusion is as true with the actual, three dimensional chess set as it is with these photographs.
Part of the impact of the piece is in the way that the viewer only notices the ‘black holes’ of the missing black squares on the chess board after already being intrigued by the disintegrating nature of the board.
The piece has political overtones, in that it is partly about the disintegration of power (as symbolised by the combative nature of the game of chess) and the disintegration of order (as symbolised by the rigid grid of the chess board). It is also about more existentialist themes such as dangers that lurk in the world (the black holes as traps or stumbling blocks) and the nature of physical reality (with the holes representing the unknown parts of the physical universe (such as the actual black holes that result from collapsed stars). It’s also just a nice visual illusion, and thus contains humor as well as its more weighty themes.
The chess board contains no black squares – they are an illusion.
Watercolour study: stability and uncertainty
Watercolour. 20cm x 20cm. 2018
A watercolour painting created as part of a series exploring the depiction of simple, precise geometric forms (such as the triangle here) using techniques that introduce imprecision to the geometry of the image.
A study of order, stability, uncertainty and potential disintegration.
Slightly unsettling heads created from empty plastic milk bottles.
Like many artists I have a habit of collecting waste and recycling it into works of art.
The sinister appearance of these heads, drawn as they are on post-consumer waste in the form of discarded plastic milk bottles, can be interpreted as a comment on the fact that we as humans are destroying the environment through (amongst other things) our profligate use of plastic packaging.
The fact that the heads also resemble the type of craft-play objects produced by children can be interpreted as alluding to the western world’s current tendency towards a philosophy of consequence-denying pleasure seeking in which the adults in society fail to take responsibility for their actions beyond immediate self-gratification.