The effects of light on colour, materiality and form.
My research has explored the representation of photographic shadow shapes as abstracted forms, taken from a 1960’s Tower Block in the Oxfordshire countryside. Using these abstracted shapes has allowed an exploration of the shadow as metaphor for the hidden elements contained within. A focus on how architectural forms and their shadow could evoke the personal, led to further investigations into how materiality and colour effect how we sense a space.
This piece is an exploration of the effects of materiality on form, working with brushed aluminium. Cutting a shadow shape into the surface of the metal and folded it inwards, allows an exploration of depth as well as the suggestion of what lies within. This piece was made in response to a question which was asked of earlier wall-based pieces made in card: Would sharp edges possibly suggest danger if it was constructed from metal? A Subdued Ground, 1 Aluminium brushed metal with spray paint H:260mm W:420mm D:340mm In this case, considering the aesthetics of materiality, the colour relays one message of warmth, but alongside this we can still experience the hard, cool material through ‘bodily sensing’. (Böhme, 2018, p.62) This element of danger may well be with how the colour and material are ‘read’ together, as to whether the base material is visible or not.
Elusive Shapes and Odd Geometries, 1 Archival card, metal cable ties, spray paint, ani-slip mat, Fablon H:800mm W:680mm at widest point D:550mm Working on a large scale, this is an exploration of folding parts, attached at two points with metal cable ties, this piece can be arranged into three configurations and folds flat. It was made in response to the movement of light around the Tower Block. Here the effects of colour on shape, as well as how one colour affects another were considered. The combination of painted surfaces with layers of spray paint, printed areas, disruption of the surface through the removal of layers of card, has allowed an exploration of the impact of light on and across its form, as well as its capacity to create new spaces within and beyond its peripheries.
Elusive Shapes and Odd Geometries, 2 Archival card, metal cable ties, spray paint H:800mm W:520mm D:460mm This is a second piece made in response to the movement of light around the Tower Block . Layers of spray paint and printed areas of insect mesh, build up the surface details. In other areas disruptions to the surface through the peeling back of card, allows an exploration of the impact of light on, and across its form, as well as an investigation into lights capacity to create new spaces as colours interact.
Impalpable Shadows: Digitally layered photographic collage on vinyl H:1500mm W:160mm Extracted shadow shapes from around the exterior spaces of the Tower Block are used in this composition. The shapes are arranged in order to play with how we perceive space, with changing opacity used as a way to introduce depth. Here the shadow is used as metaphor for the hidden, for memories and feelings of nostalgia as well as those indescribable experiences which we are unable to interact with physically, yet we can sense.
A Constant Deep Breathing of Shadow and Light, in 4 parts Archival card and spray paint These sculptural forms take the linear shadow, the outer edge or boundary of my shadow shape motifs as their starting point. Their linear shape is mirrored so an identical form is created, hinged along a central spine, allowing the form to fold outwards and inhabit the space. Lighting is crucial to how the forms and their shadow interact as well as to how this piece is perceived.
Dancing in the Shadows Photographic series of unfolding object in 9 parts Archival card, spray paint and piano hinges H:1000mm W:1000mm Folding, interactive piece Mimicking a shadow as it spreads and moves across the surfaces of this monumental building, this piece expands as each section is unfolded, spreading out and inhabiting new space. What are the possibilities for what these new spaces suggest?