Photo Credit: Peter S James
These artefacts can be likened to architectural windows, and through such an analogy with all its spiritual tradition, the notion of the transcendental is introduced. These 'windows' have frames comprised of text, schematics, and numbers. They are not meant to be read and their unintelligibility is intentional. These borders provide a connection to society's insatiable desire to analyse and understand. They represent the overload of information which characterises the modern world: information, which like the frame is inherently limiting. The frame within a frame configuration also plays an important aesthetic role in the interplay between the various elements of a particular work. The permutation of the parts and their inter-changeability add a further dimension in the orchestration of the whole with respect to architectural space. In contrast, the areas enclosed by the frames can be interpreted as a search for the sublime through colour and abstracted form. There is no striving for a narrative here, in this space, behind the frames, for meaning through form, colour, and light is established through pictorial depth. These areas may been seen as the expanse in which the unknowable resides. Consequently the search for the unattainable which lies beyond logic and reason becomes more evident; more detached. David M. Phillips (Former Head of Art History, Coventry University) 1998.
138cm x 322cm
glass, lead, paint, paper, plastic, wood, fluorescent light