The head is the most recognisable of all human features. In this sculpture I have taken the proportions and mass of the head and transcribed it through a computer program to a series of tessellations. This simplifies the form while at the same time renders the now abstracted head in the language of a program. It is the human seen from the machine.
The sculpture is an exploration of individuality amid an environment of conformity. Grids, predetermined, imposes order and discipline. This is matched with its rigid arrangement: grids overlapping grids of equal spacings, cubes within cubes growing in regular intervals. However, the rhythmic nature is disrupted by the overwhelming mismatch of the lines joining, imposing chaos and confusion but also freedom: some points appear organised and architectural; others, lawless and disorientating. At times, enhanced by the distance and space between the grids, these mismatches become kinetic. With such a chaotic influx of information, parts appear to be vibrating or even disappearing. Humans have an innate desire to make sense out of chaos, causing our brain to automatically fill in or distort visual information so it appears to make sense. This compels us to question the validity of our perception through sight, whilst presenting an inquiry of the tension between order and chaos.
Land Line #7
Over the last years I have developed research on sculpture and installation with industrial materials, which denote in the constitution and in the way they are presented, my intention to promote encounters of different potentials and temperaments; of oppositions that are based on the limits of their possibilities.
The dialogue promoted through the encounter of the two cubes of Land Line #7 is a metaphor for the existence conditions of being, where a conjugation of forces gives the opportunity to a third thing to happen. I try to create, through my propositions, in the dialogues that I establish through the laws of the world, a place of experience and reflection.