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.
Pyramidal shapes offered another interesting insight into the notion of vitual space – if viewd from the inside the structures look irresistibly like perspective drawing, with the point being the horizon.
This suggested to me a space that could reside beyond that horizon… and was a tool I used to create a few variation on “spatial” work.
These images of Octagonal Landscapes are actually film stills. The idea with these was to create a fully virtual space, one that was computer generated, but endless.
Each film runs in an infinite loop, and is meant to be projected very large scale, for a fully immersive experience.
I am fascinated by geometric abstract forms that act as all encompassing statements. The problem however lies in that these are often utopian fictions that deny reality as much as they try to make sense of it. The problem, I believe, is one of balance. The key is to find a dialogue between order and chaos, without falling into utopian fallacy. We need order – but we also need the anarchic. A touch of imperfection makes a transient thing of purity and genius. It is this that I constantly search for.
