 try to counter the inevitability of the mechanical with the branching systems of neurological structures. While at first the grids look like regular orthogonal repeated cells (as in a tesseract), that is not the case. The proportionality (particularly in compression) of the intervals between the lateral levels of the grid are all determined intuitively.

From the beginning I wanted these works to have psychological implications. The grids are designed to carry feeling; be a trellis for the projected feelings of the beholder.

The sculptures can be thought of as the result of an internal diagnosis and as instruments for the viewer to undertake an investigation of the internal condition of his or her own body. This has nothing to do with applied anatomy, but is a form of scanning similar to that employed in the meditational technique of Vipassana, where the meditator sweeps through his or her body with acute concentration, in order to discover flow and blockage.

In distinction to the clean steel of the 

 have been allowed to rust to make a reference to organic processes and the concentrated mineral material of their making.

They are an attempt to collapse the dialectic of interior and exterior, open and closed, precariousness and stability, and reconcile the distinction between reception and transmission.

Mined Gridworks

, 2015, 5 mm mild steel plate and 5 mm square section mild steel bar, 185.1 × 51.7 × 34.4 cm. Photograph by Stephen White, London.

, 2015, 5 mm mild steel plate, 188 × 48 × 33 cm. Photograph by Stephen White.

Air II

, 2018, 5 mm mild steel plate and 5 mm mild steel bar, 193.7 × 48.5 × 33.8 cm. Photograph by Stephen White, London.

Fall

, 2019, 5mm Key Steel + 5mm water cut plate mild steel, 194.5 × 52 × 33 cm. Photograph by Stephen White, London.

Air IV

, 2019, 5mm Key Steel + 5mm water cut plate mild steel, 194 × 51 × 33 cm. Photograph by Stephen White, London.

Mined Gridworks

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