Abstract watercolour with fresh fruit
This image was created by a process of serendipity.
I had recently created the abstract watercolour square using a technique that I’m experimenting with at the moment. Then I decided to experiment with creating sculptural forms from bananas. I placed the banana on top of the watercolour while I wondered what to do with it (not normally good practice) and decided that I liked the composition and the contrast in form between the watercolour and the fruit.
Translucent sphere on a marble column: 1993; height: 20cm
An abstract sculpture that uses a translucent resin sphere on the top of a marble column to capture the effects of the light.
In the photograph the sculpture is positioned on a slate base against a rough painted granite wall to give the work a robust organic feel.
A gray square floating in a clearing among bushes in the countryside.
The video is of an early study to assess the potential for the concept.
Finished works based on the concept would consist of squares suspended in the environment in positions where members of the public would encounter them, such as along pathways in sculpture parks. The locations of the squares could vary from trackside positions that are below eye level, at eye level and above eye level, where the squares would be seen to move relative to the landscape as the observer walked past. Squares could also be positioned high in the air, sometimes directly above the track, so that they are constantly silhouetted against the sky.
The square in the video, which seems to be floating in the air unaided, is of deliberately uncertain substance or nature. What is certain is that due to its shape, its colour and its position suspended in the air, the square is not a natural part of the environment.
One concept for the work is for the squares to be coloured with a non-reflective black (see image below) so that the floating squares could almost be mistaken for black portals out of the universe and into a featureless void.
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 within itself. In some ways 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 offcuts of wood from a different project, 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 engineered to emphasise 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 modernist sculpture.
Wood, ceramic, acrylic paint: Height 12cm: August 2017
A sculpture composed of two identically shaped, differently coloured elements.
The two elements are set at an angle to the vertical to give the impression that they may be partly concealed within the base on which they stand.
The elements of this sculpture are short lengths of 2×2 wood. It is deliberately made from mundane material at a small scale which gives the work a surprising intimacy.
A study for a surreal work composed of a pair of shoes with mouths and teeth. The teeth in this study were added digitally.
The shoes were chosen partly because the holes at the toe end give the impression of eyes.
An unsettling aspect of this concept is that it is normal for a person to put their feet into shoes – however these particular shoes look as though they would devour anything that was placed in their ‘mouths’. They are almost lying in wait for feet to be placed inside them.
This work may be interpreted as being a metaphor for the manner in which consumerism devours people (especially clothing and fashion consumerism).
A work composed of a barograph, the arm of which is creating a fine pen and ink drawing of a landscape.
A barograph normally draws a graph recording air pressure over the course of time on a sheet of graph paper attached to a rotating drum.
This barograph is in the spirit of surrealism and dada – it is a scientific instrument appropriated for the purposes of art (In C P Snow’s two cultures thesis this would count as cultural appropriation).
String Theory: Mirrors, cord and light source: January 2017: width 30cm height 30cm
A study for a work composed of mirrors that are configured so that they create reflections round a symmetrical axis and also create reflections in infinite regression.
The reflected object in this work is a single short length of coloured cord (about 40cm long). The cord is brightly coloured and is lit by a directional light source which gives the cord the effect of being a pulsating energy stream in a containment vessel, perhaps in a high energy physics laboratory.