DIALOGUE AT THE THRESHOLD

This body of work arose from research at the British museum, looking at all objects with openings, and a fascination with the introverted forms of Islamic architecture. The title – A dialogue at the threshold – describes the liminal element of the form.

A form encloses an inner space and is the boundary to the outside. Where there is an opening this links the two. The viewer is drawn into my dense black glass boxes by the allure of 23.5ct gold. Some are architectural, others visually soft, encased by fabric, either by wrapping fabric around readymade boxes or the fabric itself forms the box. The interplay between the interior and the exterior articulates a dialogue at the threshold.

These pieces are complicated to make so first I maquettes from card, readymade boxes, and fabric. The successful ones become my models. The solid forms are open cast

The hollow forms are made using lost wax casting. Finally there is cold working with linisher, flat bed grinder and drill.

This body of work arose from research at the British museum, looking at all objects with openings, and a fascination with the introverted forms of Islamic architecture. The title – A dialogue at the threshold – describes the liminal element of the form.

A form encloses an inner space and is the boundary to the outside. Where there is an opening this links the two. The viewer is drawn into my dense black glass boxes by the allure of 23.5ct gold. Some are architectural, others visually soft, encased by fabric, either by wrapping fabric around readymade boxes or the fabric itself forms the box. The interplay between the interior and the exterior articulates a dialogue at the threshold.

These pieces are complicated to make so first I maquettes from card, readymade boxes, and fabric. The successful ones become my models. The solid forms are open cast

The hollow forms are made using lost wax casting. Finally there is cold working with linisher, flat bed grinder and drill.