My recent body of work takes inspiration from the built environment, aiming to capture the essential elegance of a Modernist design aesthetic. Its formal constructs are derived from building facades, a deconstruction of the grids of vertical and horizontal planes that make up city skyscrapers. By segmenting, scaling down, refining and detailing these forms, I explored a series of sculptural variations reflecting the core, minimalist aesthetic of the modern urban scene.
As an artist, the conceptual act of deconstructing, reconstructing and the processes of making, gives me a sense of control over and a deeper understanding of the sometimes overwhelming cityscape we inhabit today.
The wire and zinc pieces in this exhibition evolved while I was engaged in the long process of casting and cold working the glass pieces. Their more open structures were developed through long contemplation and consideration of the initially opaque and undifferentiated glass shapes. As I traced their outlines I could see a different form emerging, like a three-dimensional architectural sketch. So I set about constructing these new shapes out of steel wire, welding together each frame-like segment and carefully removing sections to make it optically correct. The wire structures express a quality of skeletal, tensile strength that makes a strong counterpoint to the glass pieces. The laser cut zinc pieces were the final derivation of this ?skeletal? idea ? flattening out the images even further, and giving them the reductively graphic quality of a technical drawing.