For over the past ten years I have been defining and redefining ‘temples’ of my own with combinations of three major elements: space, light and the presence or absence of the human body.
My sculptural practice began in 1996 with an attempt to understand a type of illusion I called `counter-form illusions`. Here sculptures that were an equivalent to a mould of the human body were lit in a very specific way and resulted in concave space being perceived as convex. These works necessitated the creation of installations to control viewing points, in order to maximize the illusion, while also positing my work in spiritual and cultural contexts through the use of tapered tunnels. Recently the tunnel has become more significant as I am aware that the tunnel itself can represent the human body, or parts of it, and this is evident in the work HAL-O.
The HAL-O series, began in 2007, makes a quantum leap from installations; installations rely heavily on the gallery space and its lighting conditions while now my free-standing sculptures have almost total control of their own internal spaces and light.
The exterior of HAL-O suggests a solid object and the work appears mysterious. My inspiration is the monolith from Stanley Kubrick`s 2001: Space Odyssey, as well Piranesi`s imaginary prisons and Kurt Schwitter`s Merzbau. HAL-O is the monolith being penetrated, to reveal a haunting space. The move from concealed to revealed space challenges the viewer to consider what it means to treat revelation as a form of truth.
My works are typically balanced on a hocus-pocus tightrope as they seduce the visual perceptions of the audience and engage them with seductive spatial experiences. But with everything in its right place, audiences become aware that what I have done is simply invite them to contemplate their own bodies and, ultimately, their own impermanence.