Structures created from found objects: a hidden dialogue of lost lustre.

Some might see it as painting, with forms reminiscent of cubism. My level of interference with the original materials is enough to alter them, and uses paint and wall drawings as a tool to navigate their form. Indeed, the found objects have been beaten, broken and hammered into submission. However, it may also be valid to see these forms as chipped and hammered grammatical constructions; a commentary on the discarded.

When considering my practice as a sentence, it may be read alone or as part of a paragraph, following grammatical conventions which are its structural necessities. These forms may be intuitive and impulsive in the way it is created but I do not wish them to collapse entirely. Their glue is their context.

Similarly, just as some words may be polyphones or homophones, so might be these forms. The viewer may see both the original context of the found object, but also its new context within the piece.

For the viewer also lies the subjective duties of interpretation, for the theme of being discarded will touch personal resonances. For me, the forms are not only to be seen as quotes from the components' original use, but also a commentary on how redundancy of practical purpose does not necessarily bring disappearance, diminishment or disintegration, but simply a new perception of form without expediency. In a way, they are a reflection of the nature of truth and the human condition, a bonfire of vanities.