Krystina Naylor

The 2012 'Masked' series of objects were produced in a sort of opposition to the 'Open Box' series made in 2011. These earlier sculptures were impostors. When placed at a specific angle their irregular outline vanished against an environment and a camouflaged skin aligned to produce the image of an 'everyday' cardboard box. An illusion of function. Whereas this later series was born out of understanding design and masking a function (advertisement). The idea of parallelism in a sculptural practice produces a conflict which in turn evokes a curiosity on my behalf. I suppose a system for a continued practice. I've noticed that when making this series of 'Masked' objects, that their form became marginally influenced by methods of production; the problems of using alternative (to original) materials. The object restricts itself. Angles, shapes, curved Vs straight edges and the spaces between them are all determined by the basic tools available. I find myself making small alterations which were initially conducted through problem solving, but now I'm choosing a far more elaborate method due to the desire of a specific result. 'This would look better'. The first in the series attempted actuality, its aim was to replicate an aesthetic but not necessarily a function - the third became lost in a further abstracted ideal. Derrida speaks about language in his book on 'Gramatology' as being 'helpless, adrift in the threat of limitlessness, brought back to its own finitude at the very moment when its limits seem to disappear'. This circulation of possible/impossibility, faint (/feint) yet distinguished seems relevant to the nature these recent works have embodied. How one manipulates two and three in a sequence and adjusts their collective comprehension accordingly. 16.10.12 read full statement

Location Nottingham, East Midlands