Crystallizations
2025
Vitrolite, birch plywood
2025
Vitrolite, birch plywood
Initially appearing as a hybrid between gallery display furniture, elements of the architecture of public spaces and waiting rooms, these works harness and intentionally manipulate the ubiquity of sculptural forms to express both a disenchantment surrounding the symbolic architecture of cities whilst also speculating on the potential for art to bring about a sense of utopia.
Skeuomorphic principles are explored in these sculptures on various levels - firstly in the appropriation of vitrolite in the patterning and surface - and secondly in the act of mimicing museum and exhibition furniture their plinth like forms whilst subverting the expectation that they must display a specific object.
They are examples of in-between states, which Marcel Duchamp referred to as the infrathin.
The imperceptibly slow metamorphic processes that form marble in the earth were simulated by the fusion of molten substances in the manufacturing process of vitrolite in the 20th Century - the introduction of colours in ornate swirls, of a reflective surface from flame polishing, all have a hand in creating something exactly which it is not. This kind of commonplace treachery that has its place in much of our tactile experience of being in the world, is also at play in the making of exhibitions where certain haptic qualities of the natural world are simulated to appeal to our senses. If these works resemble plinths and pedestals it is only an approximate resemblance, a rough interpretation in the process of using my hands to translate a found material into another form.
Skeuomorphic principles are explored in these sculptures on various levels - firstly in the appropriation of vitrolite in the patterning and surface - and secondly in the act of mimicing museum and exhibition furniture their plinth like forms whilst subverting the expectation that they must display a specific object.
They are examples of in-between states, which Marcel Duchamp referred to as the infrathin.
The imperceptibly slow metamorphic processes that form marble in the earth were simulated by the fusion of molten substances in the manufacturing process of vitrolite in the 20th Century - the introduction of colours in ornate swirls, of a reflective surface from flame polishing, all have a hand in creating something exactly which it is not. This kind of commonplace treachery that has its place in much of our tactile experience of being in the world, is also at play in the making of exhibitions where certain haptic qualities of the natural world are simulated to appeal to our senses. If these works resemble plinths and pedestals it is only an approximate resemblance, a rough interpretation in the process of using my hands to translate a found material into another form.