Floor Plans

This images captures the essence of what I hope to acheive with both object and space. I think it shows a climactic point in my current practice and presents ideas for change and development.
I am interested in pushing the relationships between the objects which I will install in the final exhibition and how these can relate or will perhaps achieve new relationships in architecture's future development.
The limited colour palette allows the objects to still be examined as objects, not as painterly compositions and the use of colour on only 3 then disassociates the nearby structure.
However, I see the structures as having clearly designated relationships that rely too much on each other, rather than push the interest in how the forms can be altered and manipulated over time.

Questioning the function of form and flatness.
Plaster layered on polystyrene.
Flat vs free standing
Stacked vs straight edged

Set construction no. 1

Assembled from polystyrene and plaster the image shows the beginning stages of astop-motion construction to animate the sculpture. At the centre of my approach lies an interest in evolving landscapes through individual journeys. By using the sculptures to create and disassemble I will explore this directly for the viewer.

The video will be displayed at the Dukes in Lancaster city centre with the sculptures themselves installed in derelict shops nearby, evoking a trace of the past but hinting at present architectural developments.

I created these wall pieces to question the definitions between architecure and environment further but also to raise questions over the importance of colour. In the previous sculptures I used a pastel green and red which I felt were effective; they referenced lines taken from maps, and the stronger the red the more closely it could be linked with bricks and building materials.
However, I felt there was something missing from the compositions at this stage. To make the historical Baroqque references more explicit I employed gold as an addition to the structures.
This worked on top of the polystyrene but not the plaster and particularly well against the green. It was always my intention to use the colour as an addition to the others but not to take precedence over and this Is something I will be continuing to engage with.

This is a large scale Baroque stone piece carved out of polystyrene and covered with plaster. I wanted to alter its relationship between architectural environment it is most freely associated with. This piece works purely as an experiment, but the placement is too random and a little obvious.

On reflection, the elements I found most exciting in 'the kitchen table' were the large, vertical table legs. I was pleased by their appearance protruding through the horizontal polystyrene, leading me to think about the possibility for this to work on a larger scale.

The detail that can be observed within the two forms is taken from interior architectural details such as wooden banisters and alcoving. I thought this would offer interesting perspectives on the industrial materials being used and the softer forms asscoiated within everyday environments.

The second formal structure, pictured above is aimed at developing my sculptural ideas more architecturally. The first structure hints at this through the combinations of horizontal and vertical elements but lacks communication with any recognisable forms. I began working with the polystyrene cutter more intuitively, working from photographs of highly detailed Baroque architecture in an attempt to provoke a thoughtful understanding regarding the architeture's heritage.

The polystyrene wire cutter allowed this to happen quickly and effectively, with the amount of detail dependent on my developing skills. This allowed me to think more ambitiously about producing highly detailed structures on a larger scale.

Currently, I am interested in pursuing architectural forms from different sites. This has developed from initial site visits, to responses gained from archival research. The combination of recognisable forms and detailing from historical sites, the layering of plaster on top of the polystyrene and Baroque traces aims to maintain and intrinsic interest in the continuing changes within internal and external sites. I still view this as a crucial part of my current sculptural practice and find I am constanltly striving for ways to make this more apparent.

For the exhibition which I am currently working towards creating a short film which explores the inevitable transformations that historical and urban landscapes undergo through time. Using stop-motion to film the sculptures, I will be showing the film at the Dukes in Lancaster to create a conceptual approach to an indefinite location.

The sculptures themselves will be installed in a derelict shop space which the viewer will be invited to visit after seeing the video. I believe this will invite conversation regarding how we interact with space and the understandings we impose ion structures through their timely alterations.