I’ve been looking into ideas of time parallels from a particle level all the way out, like in the Charles and Ray Eames’ Powers of Ten film. Give it a watch if you haven’t already. I’ll put the link at the bottom. I’m curious about the weird niche of when you’re watching a film created decades ago that is attempting to appear futuristic; both politically and aesthetically. We can watch a film like A Clockwork Orange which is set in the ‘near future’, reflected in not only the sociological themes but also the interior set design of the film - but that aesthetic future somehow did not happen. The film looks forward, but it’s not looking at us. Alison and Peter Smithson designed House of the Future in 1956 which portrayed their idea of a house that would be the norm 25 years later, made completely of plastic. They looked towards the 80s but the 80s didn’t meet their gaze once it came around.
Through the creation of biomorphic everyday objects on a range of scales, as well as appropriating sculptural and decorative pieces from antiquity to the present day, my work invites viewers to question their presence and frame of reference in this threshold that the work represents. On a small scale, the work elevates the everyday of domestic aesthetics. On a larger scale, viewers can walk amongst the work as though they are walking around furniture in a living room. I invite those experiencing the work into a somewhat confusing environment that is saturated by ambiguity.