Adaxka (wood and paint, h56cm w161cm d137cm)
Two highly polished planks are lifted off the ground by slim, delicate lengths of painted wood. The gently carved and solid wood planks are not machined, there is a gentle undulating surface which contrasts with the slim, organic branches and the bark of the tree is evident at the edge. These sticks are raw lengths with a collective strength enabling the lift. The planks are not inert, they gather the painted branches, gathering them from a broad spread and forcing them together through holes, constricting them, holding a tight grip before releasing them again. The symbiotic relationship of both sets of elements is vital, they rely on each other and neither can work without the other. The focus of the sculpture is the centred constriction, the sense of the painted components working upwards and creating the lift by the combined action. The blue colour enhances this lift by taking away the grounded sense of the tree and creating a more ethereal and floating idea.
Zolemba (wood and paint, h62cm w115cm d46cm)
I used a bandsaw to cut through small cross section logs, not with straight geometric and rather harsh lines, but using an organic and gentler line, less regimented and often deliberately off kilter. This way I have been able to reveal the internal make-up of the wood: the rings, grain, colour, and form. The ‘planks’ made are separated, re-positioned back together, not necessarily in their original position with the wonky cuts meaning the boards do not fit tightly and there are visible and significant clefts in the structure. This method of construction allows to me to create forms across the sculpture with an openness that would be impossible using one piece of wood. Ensuring that the component parts of the sculpture are correctly positioned and held in the right place from all angles is crucial to the spatial relationships that are formed across the sculpture. My sculpture is abstract, seeking to convey a sense of movement through the physical interpretation of a brief and momentary fragment in time. With an internal energy pulsing through the complex constructions, these sculptures evade a single analysis. The positioning and the relationships of the elements define the movement of the sculpture. The space between the elements is significant and these airways that are created through the sculpture play a huge and physically active role in the sculpture.
Ajija (wood, h59cm w72 d39cm)
For Ajija, small logs were cut deliberately off kilter, rather than with harsh straight geometric lines. The ‘planks’ were separated and re-positioned back together, but not in their original order.
Rraff (wood, paint, rope and staples, h 51cm w60cm d56cm)
Individual elements of Rraff have been kerfed and stapled into position, i.e. cut almost through in several places creating a space that is eliminated when it is stapled. All the parts are constructed by tying with string.