The BIG BEAMERS use the constructional principles of architecture to reconsider the body in space and as space. Constructed from interlocking steel beams, they translate the body into an orthogonal matrix of x/y/z coordinates. They play on notions of presence and absence: voids have been deliberately left in the mass of the work to allow space to penetrate the body zone.
On the one hand, these works are logical and absolute, but equally, they evoke a sense of impermanence and vulnerability, leading one to question where the centre of gravity lies; what its load path may be and how its form coheres.
With all the BEAMERS, the artist is interested in how the emotional valence of an object is determined by its point of rest.
The works invite circumnavigation: BIG FORM, a crouching bodyform in the position of a spinario is proprioceptive: attending to its own being, but at the same time, precarious. By contrast, BIG PLUCK is heroic and conveys a feeling of yearning in its desire to be connected to space at large. BIG SKEW and BIG YIELD are almost the reverse of each other: one is playful, whereas the other is mournful and struggling.