My current practice aims to construct relationships between individual elements within a given area, in order to create aesthetic dialogues. On an intimate scale the work sits in the void between sculpture and installation, making reference to the relevance of both positive and negative space within architectural construction.

Recognisable materials, limited in dimension, shape and surface, are removed from their intended contexts and exposed to the context of the studio. I explore the nature of space and composition physically reassembling the materials in varying orders, using photography to document the arrangements as they progress.

Each movement is a result of the last and induces the next until a point of aesthetic balance is achieved. This is judged against previous arrangements, striving to reach a more successful outcome as the exploration develops. The repetitive process of organising a set number of objects almost becomes performative within the studio environment, however once the pieces are realised, evidence of this process is not present. By exploring the physical limitations of the objects through a highly aesthetic method, I initiate a visual discourse which asks the viewer to consider the materials in relation to their acquired context.

Material and surface are confronted through these objects, whose connotations lie within a specific industry. However, once within the studio a sense of temporality and fragility becomes apparent within the ordinarily structural breeze blocks. This is juxtaposed with the transparency and weightless aesthetic of the glass and the strong linear qualities of the physical composition. Fragile materials such as glass and lights introduce tension within the pieces - acts of leaning and balancing also portray this. The works stand as the result of a decision making process. They appear final, yet are unfixed. The process is a physical exploration into material experience and arrangement that has been made a priority over language or representative form. … Read More