Making art is an indescribable urge to create something, to see where it can lead. Art breaks the norm as it empowers me to bring to life an idea from within myself. This idea then manifests itself in a physical object which in turn has the potential to be shared with the world.
Look around you. Grids are everywhere. Even in nature grids appear. The structural lines of the veins on your hand, the folds and lines on your palm, they are everywhere like intersecting pathways.
A grid gives structure to space. Consisting of lines it separates planes into blocks. Lines are fundamental to the existence of a grid, but they must cross another. Some lines are longer others broader but it is this crossing of the lines that constitutes a grid.
Some grids are structured, mathematically and perpendicular. Take a map of the city or place you live in, look at these forever connecting lines which make up the roads, streets and borders of your environment.
Others seem random and organic such as the neurones and synapses in our brains or the ebb and flow in a mangrove swamp.
Ultimately these lines, wherever they find themselves, are connected.
An ongoing theme in my work has been the large optical crystal Grid Sculptures. A grid pattern is cut into the base of these large and heavy blocks, adding a rigid, formal, almost quantifiable structure into the narrative. Thereafter the flat sided cube is carved up, often with impulsively determined facets or, quite recently, with an underlying geometric structure. I allow these variants to manifest themselves.
The grid already determines rigidity and mathematical quantifiable value. These straight lines conform to an imposed intervention, something that is not quite from nature.
Then the carving starts. First with lines drawn onto the cube then with a saw to remove larger chunks. A rough diamond cup-disk is used thereafter to shape and hew the sculpture into desired curves and facets. It is with my hands, eyes and tools that the sculpture takes shape.
During the process which takes several days of meticulous and repetitive labour, scouring the surface with ever finer gritts, the interior emerges.
It is this magic of the hard transparent material I am after. The initial matt and rough cuts don’t tell me much of what light will do but it is towards the end of the process when, after an almost meditative sojourn the spirit of my endeavour emerges.
I am attempting to impose an organic distortion on the rigid structural set of rules, this predetermined grid we deal and often conform with. I am trying to find another way of seeing things.