Arranged together the structures form an empty architecture, an abandoned landscape of an anachronistic future and like shadows or scaffolding they suggest the form of something else, a filling of a negative space.Įach balsa wood structure is made to hold a card.Together, the shelf holds 12 cards. The forms are constructed from balsa wood, that soft, light wood of hobbyists and modellers and childhood. I would refer to it as an ‘artist’s shelf’, a sculptural answer to an artist’s frame, cobbled together, enfolding the work.Īrranged across the shelf are small, mainly upright structures, triangular or rectangular in form. It is about the size of a large bread board, and is attached to the wall by curved, prefabricated, plywood brackets. The shelf is a nondescript piece of found wood, probably pine, origins unknown and forgotten. One of the works sits on a small wooden shelf. But it must have been during the period I was not capable of returning home. Now, the correlation seems obvious, but time is elastic and unreliable, and my memory of making these works now is vague, dislocated from time. As with most things, the correlation between these two events only became clear with hindsight. It was while making these two small works I found myself, suddenly, not capable of returning home.
A couple of years ago, I made two small works.
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