S.T.arts ®© 2018

Heist 24 (2015)

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Six panels of security mirror glass are placed parallel to one another upon black rubber and lean against the gallery wall. Used within banks, post-offices, etc, the glass is composed of alternating strips of clear glass and mirror allowing one-way viewing only. Architecturally the use of security mirror therefore creates a relationship between 'viewer' and 'viewed' and so has inherent connotations of voyeurism, secrecy and control. Referencing a generic screen (the total surface area of the glass equals that of a 46” flat screen T.V) the arrangement of the panels allows the viewer to simultaneously peer through the screen whilst glimpsing a refection of the gallery surroundings and their own image. Heist-24 explores questions of identity and our symbiotic interaction with screens and simulacrum, drawing a parallel between physical/tactile and digital/virtual screens, through which we mediate much of our everyday reality.

101.5cm , 86.5cm, 0.5cm

x6 panels of security glass mirror, black rubber.

Red-Shift (2011)

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Red-Shift is a hybrid sculpture and assemblage, inspired by utilitarian objects and materials. It refers to their function within the micro-architecture of our cities, in the context of what Marc Augé has called “non-places”.Four platform trolleys, each covered with hazard tape and corresponding panels of corrugated plastic, provided the starting point for this piece. A geometric design derived from the urban environment was then cut into the panels to form an inter-locking relief pattern and a trim of brush-strip fills the space between the underside of the trolley and floor. The title of the work makes reference to the revealed areas of red and white tape as well as the original transporting purpose of the object.
120cm,  80cm,  13cm.

Platform trolleys, corrugated plastic, hazard tape, brush-strip, clear plexiglass sheets.

Pallet Lite (2011)

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A wooden pallet is deconstructed and reinvented. In a transformation of the prefabricated to the hand-made the constituent parts were sanded smooth, revealing a striking wood grain pattern. The pieces were then dyed with a redwood mahogany stain and sealed with varnish before the pallet was reconstructed. Coach-screws were used to re-join the wood, their position determined by the pre-existing nail holes and the pallet was bisected before being rejoined with hinges and fitted with LEDs. When exhibited, the work is cantilevered from the gallery wall, an elevated object, the brackets referencing the arms of a fork-lift truck.

Dimensions variable.

Pallet, redwood mahogany wood stain, clear varnish, coach-screws, hinges, LEDs, cable, galvanized steel brackets.

BaseCamp (Prelude to a Counter-attack) (2006)
Within a darkened gallery space, the drone of swarming honey bees emits from six hive-like structures. This work is a hybrid combination of architectural elements and organic forms. Plywood constructions are assembled as stacks, slotted into one another and individual slats are coated with a prismatic reflective material that repeats the hexagonal motif. Each structure reflects a glow from a carefully positioned light source.
Main structures: 60cm, 60cm, 160cm and 100cm, 100cm, 200cm
Plywood, speakers, unit stands, mesh, black rubber, lights, prismatic reflective material.

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D-Transit (2004)

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The work D-Transit explores the intersection of design, art and architecture and is built from utilitarian materials commonly associated with packaging. Assembled from a series of interlocking and interchangeable bowson board struts and polystyrene panels, the work forms a self-supporting structure that references flat-packed furniture. Its installation consists of two configurations of the same design. Whilst one structure is completed according to assembly instructions, the other is left semi-assembled. By-products of the construction process accumulate in a pile nearby.

Main structures: 200cm, 100cm, 100cm.

Cardboard, polystyrene panels, gaffer-tape, carpet, plastic.