Since starting the new semester I have not had as much studio time as I would have hoped. One week was taken up with setting up an exhibition I was showing my pieces in, and during the other couple I have been to compulsory meetings and seminars which, although helpful, take up a lot of time that could be used for making.
In my practice I am now looking at the interruption of dust, carrying on an obsessive process and looking at tiny gestures, and in particular, where dust gathers. The proximity with the material is very important to me, and I want to commemorate the poetically rhythmic composition of the matter, as a monumental trace.
Carrying on the idea of the fossil and the transformation into the sublime, I have been making moulds of all the places in my studio where dust gathers, and casting this in wax. The pure and translucent quality of the wax allows for a moment of illumination when lit with a torch. The pieces are beautiful and delicate and this lighting method highlights this preciousness.
I started by casting small items, such as pins and screws in the wall, but am now going larger, moulding pipes and large sections of skirting boards. The bigger the mould the more fragile it becomes, I like that it requires care and could break at any moment. I want to see just how large I can go, eventually creating a trace of where the residue presents itself across my entire studio.
