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.
As an exercise in creativity I make a habit of sitting down occasionally and just drawing whatever comes into my head, giving the process as little thought as possible. I call it “drawing my subconscious”. I do the drawings in pen and ink on paper, usually in a notebook that I reserve specially for the purpose.
This image is a scan of yesterday’s effort, drawn on a sunny afternoon while sitting in a wood full of bluebells in the very pleasant grounds of Hatfield House, a stately home dating back to the reign of Queen Elizabeth I. As you can see, my surroundings had little impact on the workings of my subconscious. Which is a bit worrying.
I was interested to see during a shopping trip into London today that the current ‘branding animation’ that is running on all of the Apple computers on show in a department store that I visited had something of the look and feel of some of my own animations (shown below).
This is probably a coincidence. I can’t imagine that the designers in Apple’s branding department were trawling the internet and happened to come across my work. And then chose to adopt some of its style. Although you never know. They have to keep their fingers on the pulse after all – although I’m not sure how on the pulse my videos are, as the video that the Apple animation most resembles is several years now.
The Apple animation, which I can’t find on the internet, and therefore can’t point you towards, features the leaf on the Apple logo detaching itself and replicating itself to form a rotating circle composed of multiple copies of itself, changing size and colour but always retaining a degree of graphic simplicity.
The animation sequence to me had something of the feel of of mine. Of course it may only be me who sees any resemblance, due to my heightened sensitivity towards the design factors of the work I created. My work uses circles rather than leaf-shaped lozenges, my circles interact where they overlay while Apple’s simply overlay, and mine are different colours, but that’s not much of a difference in my book.
Assuming that there IS a resemblance of some sort I’m not sure whether to be pleased that a company of Apple’s status is using a similar style to mine, and thus validating it, or be annoyed that a company of Apple’s status is using a similar style to mine, as people would inevitably say “Your animation’s inspired by Apple’s, isn’t it?”.
A longer version of this animation, with more variation in the movement, can be seen here: Animation
This is a trial version of a piece of contemporary art that I’m working o
n, based on a pair of shoes and a mirror. The shoes are positioned so that the reflection of each in the mirror coincides exactly with the other shoe on the opposite side of the mirror, merging the real shoe and the reflection of the other shoe into one.
Like a lot of my works that involve illusion this one explores the line between reality and our interpretation of what we perceive.
A simple moving image artwork experiment featuring a rainbow forming a circle.
I created other, slightly more complex, versions of the emerging and disappearing rainbow, but decided that this simple version was the best, giving a degree of simple tranquility to the concept, as befits the subject and the aesthetic simplicity of the circular form.
This watercolour sketch was an exercise in creating something without any preconceived idea about what I was about to create.
It turns our to be a slightly sinister landscape, in the centre of which there is something that may or may not be a living entity. Originally this object looked more like a strangely shaped rock, but the addition of colour to it removed it from the rest of the landscape and turned it into something separate from the landscape. The blue dot in the image, which is just a circle of coloured paper placed on the image, gives the possibly living entity an air of sentience, as it seems to be contemplating a strange sun in the sky.
This is a piece of art that I created recently that’s inspired by frequent unpleasant encounters with dog poo bags while out on walks in the countryside.
On one walk along a popular track up a mountain in Wales last year the poop bags were so frequent that they inspired me to conceive of the idea of a path lined with an avenue of poop bags. I’m looking out for a suitable venue.
For the work in these photos it was a small step to move a single bag from the countryside to the art gallery. The question is, is it a real dog poo bag or not? All that I can say is that it’s described as being ‘mixed media’.
The image above is an example of work from a series that I created specifically to explore concepts from the worlds of science and philosophy.
The original motivation behind the work was a wish to devise a visual means of expressing the concept that our incredibly complex universe is generated from the interaction of extremely simple fundamental forces that underlie the cosmos.
The image explores the generation of complex forms from simple forms. The image is composed of two identical grids of regularly spaced small circles, with one of the grids positioned one above the other and rotated so that the arrangement of circles on the two grids are at different angles to each other, meaning that they overlap.
A simple algorithm is applied to the overlapping grids that dictates that where the black areas of the circles overlap the blacks cancel each other out, effectively leaving white. See the two examples below, showing differing amounts of overlap.
The two simple overlapping grids of circles generate surprisingly complex patterns, forming multiple and various interacting rings, some of which are obvious while others are fugitive and seem to come in and out of existence as your eye scans the image.
What’s more, when the two grids are rotated relative to each other the whole formation of rings and patterns shifts and changes as the grids alter their positions relative to each other. See how the patterns in the image below aren’t the same as those in the image at the top.
The square grid in the image is a metaphor for the deepest, most fundamental and basic level of the physical universe, where nothing exists other than the simplest of all possible fluctuations in ‘nothingness’ itself (represented by the uniform circles).
Complexity and structure come into existence when this basic level of the physical universe – the grid of circles – interacts with itself, creating intricate forms that contain a new and complex internal structure. It is this complex internal structure that then gives rise to even more complex structures within the universe, for instance giving form to the elementary particles that act as the building blocks of the universe that we’re familiar with (while also giving form to the parts of the universe that we’ve got no inkling about, too) .
I like to think of the patterns in the images as metaphors for ripples in the fabric of reality.
A sketch of an idea for a sculpture, showing an umbrella mounted at the top of a conical structure that has short filaments protruding from it.
I have a fascination with umbrellas for some reason. I think it’s possibly due to a mixture of their slightly Heath Robinsonesque mechanical structure – the hinged flexible rods that are levered outwards to support a stretched fabric cover – and their pleasing form when in the open position. Not to mention their practicality. And the fact that they are, despite their mechanical intricacy, very much taken for granted and dismissed as objects of great mundanity.
My first ever published image was an absurdist redesign of the umbrella, published in the Sunday Times in about 1974.