I prefer to work directly with materials, having a vague idea of how to proceed, but leaving the endgame open. This way of working involves frustration, patience and many failures. I think of it as serious play.
My recent work consists of two series of objects, very different in appearance, but which can be looked at in similar ways. All the work is made to be placed outside in a natural environment.
The Colour Inventions — on the site, just “Inventions,” are vertical and are on short supports; the Perceptual Loops sit directly on the ground.
They do not imitate natural forms.
These objects have no meaning, they are non-representational. But they do claim their own space with some authority.
When I say that they have no meaning I am proposing to a viewer, who might, quite reasonably, expect an art work to have meaning, that looking for meaning will prevent an understanding of the objects.
Perception can replace attaching a meaning to the object.
Preconceptions and similes act as impediments to seeing.
The natural environment provides a background of variegated colours and tones, shapes, forms and textures. The contrast emphasises the smooth saturated un-modulated coloured surfaces.
Placing them outside completes the work. They can be thought of as being a bridge between the natural environment and artefacts.
The Perceptual Loops are made from slender rods and tubes. So the background is always in view.
They have a strong presence. They invite the viewer to move around, slowly, and look from all angles, and then a sense of the structure will be revealed.
They are kinetic, they shiver and rock in the wind.
The Inventions use cylindrical forms which are ideal for deflecting the wind. They also limit the fading of the colour, which is coated with a varnish which contains a filter to reduce the ultra-violet in sunlight.
The cylinders are placed together so the viewer is presented with what I call vertical horizons.
The tiniest movement of the head will produce subtle colour changes as the surfaces shift and reveal other colours.
This phenomenon is always with us as we move around the familiar pathways of our habitual lives but perhaps rarely noticed.
The colours can be seen to change under different weather conditions, brilliant sunshine, low evening light, rain and cloud cover.
The objects are celebrations.
I believe that looking at these objects could lead to a sharper and more conscious perception of our threatened ecosphere.
Participation can happen through looking.
All my work is retinal.