It’s hard to tell how big this sculpture is from this photograph.
The square ends of the two blocks from which the sculpture is composed could maybe be a metre across. In fact they are closer to five centimetres, as the piece is created from lengths of two by two wood (two inches by two inches).
The work has a strange relationship with scale. It’s small, but it could be big. If there was a zoom facility for three dimensional objects that worked in a similar way to that on computer and phone screens, where you simply touch the surface and drag in or out to change the size, this sculpture would beg to be dragged just to see how it worked at different scales.
At it’s actual size this sculpture looks as though it’s happy at the size that it is, while somehow containing the spirit of a larger sculpture. In one way it gives the impression of being a large object that is somehow being perceived as being small, as though viewed through the wrong end of a telescope .
As I mentioned, this work is composed of two pieces of two by two wood. This is a common size of wood sold in long lengths in timber yards for use in general construction projects. This sculpture came about when I picked up two short scraps of wood that each had been cut at 45 degrees at one end, and placed them on a work surface on their angled faces. They instantly acquired a dynamic and vital presence. Due to the manner in which they rested at an angle they looked as though they were embedded in the surface with part of their form submerged.
One of the things I like about this work is that it is made from extremely simple components – two pieces of wood from a builders’ merchants and a bit of acrylic paint. Yet it doesn’t look like a work created in the spirit of ‘detritus art’ in which the work is deliberately created to proclaim its origins in the flotsam and jetsam of contemporary culture (Artists such as Philidda Barlow, whose work I like greatly, and Abraham Cruzvillegas come to mind as good exponents of this genre). In fact this sculpture could almost be mistaken for a tiny example of the ostentatiously highly engineered work that are quite common in modern sculpture.