Jody Hamblin’s Artwork

After some major MacBook clearup I rediscovered these old images of a low key installation I did on the beach of mirror displacements.

They were completed with a numer of mirrors aligned around the place, bouncing light off each other to create intriguing walkways in the mirror’s void spaces.

The title is obviously a nod to Robert Smithson.

This piece Warp was completed after a request to show my Octonion piece.

Unfortunately my Octonion piece does not exist any more and so I was led to make this, an evolution of the old concepts into something more fitting with my current concerns about the transitory; something that Octonion never quite had.

The piece Abomination is my first real piece since graduating.

It echoes the same concerns with space, but I think that it is much more considered in some ways, more instinctual in others.

It’s great to have the kind of freedom not really afforded by my degree course; however I do miss the the space!

This piece stand as proof for me that art is something I have to follow, whatever it takes.

Octonion was a culmination of all the work I had done with pyramidal structures and octagons.

It consists of a large scale pyramid, into which an infinite loop animation of octagons is projected, which seem to be sucked constantly to the innards of the cone, exaggerating the perspective and implying space far beyond the possible.

I’ve exhibited this piece in two different situations; one in which it was embedded in the wall, another in which it was floor based.

With my most recent drawing I finally hit on a method that was really challenging; my previous attempts at almost narrative perspective drawing were failures. By keeping the drawings more concise I feel they really succeeded.

The idea was again to work with the bare bones of perspective, creating real depth without anything overcomplicated and illustrating some of the magic of the brain to eye relationship. They are made with a repetitive method of drawing a line to a central point, spaced out every couple of millimetres, and can be wuite arduous.

These are large scale drawings, meant to be fully immersive, and remarkably these are not cold, due to the softness of the pencils and the odd smudge that marks my presence as part of the work.