These works investigate the relationship of visual frequencies to sound ones in the construction of a resonant geometry. Some of the works were developed directly from cymatic experiments – the visual patterns caused by certain sound frequencies – and some were more intuitively constructed; form following form, note following note to construct overarching visual compositions.
These more intuitive pieces are representative of my practice as a whole – the philosophy behind their construction is grounded in an appreciation of the analog, the handmade and the invented. One of the rare gifts I managed to extract from an incompleted architecture degree is a love of drafting, the extraction of forms from simple lines, their intersections and the tensions you can derive from the placement of conflicting angles; the construction of space and movement on a still and flat plane.
I’m a bit analog though, deep down. It’s something that settled on me as a child, and looking around my studio I can note that not much has changed – a seemingly contradictory conglomerate including brightly coloured materials and deconstructed electronic detritus. On my eighth birthday I was given a crayola carousel and a radio shack robotic arm. It pretty much tells you everything you need to know about me except perhaps that the crayolas were always ordered in their colour spectrum, and the robotic arm was eventually pulled apart. Curiosity is not always kind.
I use geometric and hard-edge painting techniques primarily because I am looking for that vibration which exists between conflicting colour tones, which causes them to pop and recede even in their static state, and which encourage the eye to track back and forth across the painted surface looking for both order and chaos.