The focus of my practice is the exploration of colour, space and three-dimensional geometric forms. My intention is to accentuate sensory perception of colour, light and spatial consciousness.
The moving spectator becomes the participant, observing shifts in colour and density from changing viewpoints. Often the work is ephemeral, made as a conditioned response to the environment of a temporary site, in relation to the architecture, dimensions, light and functional space.
Transparent fabric is layered, positioned and gradated to reveal interaction of neighbouring colours, fusion of secondary colours or intensity of a single hue. The degree of light passing through the pieces is an integral component. The thin veils of fabric suggest softly diffused edges or may tint the walls beyond, while overlapping dense layers impart a vibrant glow. Aspiring towards an impression of floating forms, visible intervention is restrained.
Intense lines and planes of colour are created by the fabric naturally falling into folds, in addition to the folds produced by strategic cuts. Slight curling or imperfections add a brilliant glow which can be embraced.
When working in three dimensions my concerns parallel those of my paintings: abstract shapes; colour combinations; interaction and transparencies informed by colour theory research. My paintings celebrate the behaviour of colour combinations, the dissonance of red and blue, contrasting with the harmonious merge of pink and orange. Areas of colour become suspended floating shapes, interplaying and overlapping, jostling for position and uncontained.
David Bachelor wrote that colour, rather than a supplementary descriptor of objects, possesses a quality of ‘otherness,’ its own entity.
‘We…. know colour as everywhere bounded… but colour repeatedly breaks free of, or refuses such constraint….’
My aim is to convey the spectacular ‘otherness’ of colour.
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