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.
A pair of shoes and a mirror, with the shoes positioned so that the reflection of the shoe in the mirror coincides exactly with the other shoe on the opposite side of the mirror, thus merging the real shoe with the reflection of the other shoe.
Like a lot of my works that involve illusion this one explores the line between reality and our interpretation of what we perceive.
Part of a series of works involving the reflection of shoes in a mirror, with the shoes positioned so that the reflection of each shoe in the mirror coincides exactly with the other shoe on the opposite side of the mirror.
In this work the shoes involved are not a pair.
This creates a double dissonance in the viewer. Firstly the viewer has to interpret the fact that the reflected part of the shoe is not part of the other shoe, and secondly the viewer has to interpret the fact that the two shoes are different (with the degree of difference varying depending on the position of the viewer and thus the amount of the shoe that is behind the mirror that is visible).
Like a lot of my works that involve mirrors and reflections this one explores the line between reality and our interpretation of what we perceive.
A study of reflections using mundane everyday objects to create interesting formations.
Here ordinary hardware screws are arranged to form a dynamic expansive configuration.
Screws lend themselves to this study partly because of their physically dynamic shape – large at one end and then tapering away at the other – and partly because of their intended purpose, which is to hold things in place – the exact opposite of dynamic expansiveness – which brings a slight touch of paradox to the work.
Anyone looking at the image who feels that I ought to have lined up the screw heads – it’s a deliberate act not to have aligned them, even though in real life I am an obsessive screw head aligner.
Three mirrors forming the vertical sides of a triangular box turn a hand into an alien creature. The hand is intruding into the box through an opening in the corner.
An exploration of how a familiar object (a hand) can be transformed into something completely alien purely by the use of simple mirrors.
A study of the familiar becoming unfamiliar via a mundane agency.
The ceramic head in this sculpture is held in the jaws of the spanner by a thin wooden rod that forms the head’s neck.
It is uncertain whether the head is trapped in the jaws of the spanner or whether the head and the spanner form a single entity, with the spanner as the body (The shape of the spanner suggests a seated or crouching body). This tension is part of the appeal of the piece.
Workshop tools such as spanners and hammers are a recurring feature of my sculptural work.
Defaced/refaced statue. June 2015. Classical statue, marker pen
A humorous work consisting of a headless classical statue with a cartoon-like face drawn onto the oval form of the neck.
Part of the humor of this piece is the juxtaposition of opposites – the elegant and timeless form of the classical statue in contrast to the crudeness and immediacy of the contemporary head.
The piece also contains dark humour and an unsettling quality due to the fact that the drawn two dimensional head is occupying the surface created by the decapitation of the statue’s three dimensional head.
The drawn on face also has the appearance of graffiti, so it could be said that the act of giving the statue a face is in fact defacing the statue. The word deface literally means to remove the face (as occurred with the vandalisation of statues in the past), so the fact that the act of adding a face to a statue can be interpreted as defacing the statue is ironic.
The Oppressor Impaled by the Oppressed. June 2015. Hammer, nails, plank.
A sculptural piece consisting of a hammer nailed to a plank of wood.
Part of the concept behind the work is that the hammer is being empaled by the objects that it normally hits.
This is partly a metaphor for oppression and rebellion, and it’s also a study in irony.
How did the nails come to be impaling the hammer? Were the nails hammered into place by another hammer? In this case the nails are not the downtrodden oppressed rising up to overthrow their oppressor using their own power, but are more like the followers of another power (another hammer) that may turn out to be as oppressive as the hammer that’s been overthrown.
Other versions of this piece have the hammer on a horizontal surface, such as on the top of a plinth. Other versions use different numbers of nails. The vertical version shown here is in some ways more disturbing than the horizontal ones, as the vertical format gives more of an impression of the hammer being violently empaled rather than simply nailed down. It is also disturbingly suggestive of a crucifixion in Christian iconography.