343,000 cubic centimetres of isolated space.
2011.
Radar absorbent material, anodised aluminium.
70 x 70 x 70cm.
Anodised aluminium cube covered in radar absorbent material (RAM). The carbon foam pyramids of RAM deflect and absorb any Wi-Fi activity present in the surrounding area. The space inside the box becomes Internet proof.
Untitled (vacuum contained within glass sphere).
2011.
Glass, mirror ball motor.
Dimensions variable.
Vacuum the volume of an average sized human brain contained within a glass sphere. The work hangs at average human head height. It is suspended from a mirror ball motor that rotates at 1 rpm.
Hopeless Diamond.
2011.
CNC cut MDF, Wi-Fi blocking paint.
200 x 100 x 33.3cm.
Sculpture based on the original designs for the ‘Hopeless Diamond’, the stealth form which was developed into the first stealth fighter jet, the F117A. The geometry and materials used in the making of the work reduce its radar cross section, making it invisible to radar detection.
Hopeless Diamond.
2011.
CNC cut MDF, Wi-Fi blocking paint.
200 x 100 x 33.3cm.
Sculpture based on the original designs for the ‘Hopeless Diamond’, the stealth form which was developed into the first stealth fighter jet, the F117A. The geometry and materials used in the making of the work reduce its radar cross section, making it invisible to radar detection.
Open to Communication.
2011.
Translucent acrylic, anodised aluminium.
90 x 5.5 x 165cm.
Split horizontally into two colours – half blue, half yellow – Open to Communication represents The Kilo Flag from The International Code of Symbols meaning, “I am ready to communicate”. The work is designed to hang internally, at the threshold between the inside and outside of the gallery space. It acts as an invitation for visitors to enter.
Monument to the Alphabet.
2010.
Fluorescent lights, anodised aluminium, MDF, acrylic, Arduino, electronics.
Screen: 315 x 220 x 60cm. Plinth: 40 x 102 x 40cm.
Sixteen fluorescent lights, mounted on the wall and arranged as a sixteen segment display, replace the gallery lighting. Viewers are invited to interact with the sculpture through a plinth-mounted interface and, by using a sliding mechanism, can instantly reconfigure the lighting in order to create characters from the English alphabet.
Monument to the Alphabet.
2010.
Fluorescent lights, anodised aluminium, MDF, acrylic, Arduino, electronics.
Screen: 315 x 220 x 60cm. Plinth: 40 x 102 x 40cm.
Sixteen fluorescent lights, mounted on the wall and arranged as a sixteen segment display, replace the gallery lighting. Viewers are invited to interact with the sculpture through a plinth-mounted interface and, by using a sliding mechanism, can instantly reconfigure the lighting in order to create characters from the English alphabet.
ON/OFF(OFF/ON).
2010.
Neon tubing, radio control system, acrylic, MDF.
Dimensions variable. (Neon: 90 x 20cm. Plinth: 40 x 102 x 40cm).
A single white neon is mounted on the wall reading ON/OFF. Viewers may engage with this work via a button, reading ON/OFF, fitted into the top of a plinth. With each button press each word turns off (and it's opposite on), or each word on (and it's opposite off).
ON/OFF(OFF/ON).
2010.
Neon tubing, radio control system, acrylic, MDF.
Dimensions variable. (Neon: 90 x 20cm. Plinth: 40 x 102 x 40cm).
A single white neon is mounted on the wall reading ON/OFF. Viewers may engage with this work via a button, reading ON/OFF, fitted into the top of a plinth. With each button press each word turns off (and it's opposite on), or each word on (and it's opposite off).
ON/OFF(OFF/ON), (Detail).
2010.
Neon tubing, radio control system, acrylic, MDF.
Dimensions variable. (Neon: 90 x 20cm. Plinth: 40 x 102 x 40cm).
A single white neon is mounted on the wall reading ON/OFF. Viewers may engage with this work via a button, reading ON/OFF, fitted into the top of a plinth. With each button press each word turns off (and it's opposite on), or each word on (and it's opposite off).
ON/OFF(OFF/ON), (Detail).
2010.
Neon tubing, radio control system, acrylic, MDF.
Dimensions variable. (Neon: 90 x 20cm. Plinth: 40 x 102 x 40cm).
A single white neon is mounted on the wall reading ON/OFF. Viewers may engage with this work via a button, reading ON/OFF, fitted into the top of a plinth. With each button press each word turns off (and it's opposite on), or each word on (and it's opposite off).
Six Square Meters of RAM.
2010.
Radar absorbent material, anodised aluminium, white acrylic, MDF.
315 x 220 x 60cm.
Placed at the entrance to the exhibition space, Six square meters of RAM isolates the gallery behind it from external wireless and social networks. Carbon foam pyramids of Radar Absorbant Material prevent electromagnetic and sound waves from entering the room, and the gallery remains a space for isolated contemplation.
Alpha, Bravo, Charlie.
2010.
Keyboards, lambda prints, clear acrylic, MDF.
102 x 202.4 x 78.9cm.
Three office keyboards lie side by side in a museum display cabinet. We can’t touch them - they are stand-alone art objects. The keys of each of the three keyboards are all printed with the letters A, B, and C respectively. As devices through which we can record our thoughts and communicate meaning, they are defunct. Above each keyboard lies a print - each one printed with a different symbol. The ‘symbol’ represents the ‘letter’ printed on the accompanying keyboard within the International Code of Signals. Ships use these signals at sea to communicate to one another. In the context of a contemporary art gallery they perhaps more readily reference colour field painting? Presented as art, tools and languages which enable two-way communication become static objects that surrender to our interpretations.
Alpha, Bravo, Charlie, (Detail).
2010.
Keyboards, lambda prints, clear acrylic, MDF.
102 x 202.4 x 78.9cm.
Three office keyboards lie side by side in a museum display cabinet. We can’t touch them - they are stand-alone art objects. The keys of each of the three keyboards are all printed with the letters A, B, and C respectively. As devices through which we can record our thoughts and communicate meaning, they are defunct. Above each keyboard lies a print - each one printed with a different symbol. The ‘symbol’ represents the ‘letter’ printed on the accompanying keyboard within the International Code of Signals. Ships use these signals at sea to communicate to one another. In the context of a contemporary art gallery they perhaps more readily reference colour field painting? Presented as art, tools and languages which enable two-way communication become static objects that surrender to our interpretations.
Alpha, Bravo, Charlie, (Detail).
2010.
Keyboards, lambda prints, clear acrylic, MDF.
102 x 202.4 x 78.9cm.
Three office keyboards lie side by side in a museum display cabinet. We can’t touch them - they are stand-alone art objects. The keys of each of the three keyboards are all printed with the letters A, B, and C respectively. As devices through which we can record our thoughts and communicate meaning, they are defunct. Above each keyboard lies a print - each one printed with a different symbol. The ‘symbol’ represents the ‘letter’ printed on the accompanying keyboard within the International Code of Signals. Ships use these signals at sea to communicate to one another. In the context of a contemporary art gallery they perhaps more readily reference colour field painting? Presented as art, tools and languages which enable two-way communication become static objects that surrender to our interpretations.
Alpha, Bravo, Charlie, (Detail).
2010.
Keyboards, lambda prints, clear acrylic, MDF.
102 x 202.4 x 78.9cm.
Three office keyboards lie side by side in a museum display cabinet. We can’t touch them - they are stand-alone art objects. The keys of each of the three keyboards are all printed with the letters A, B, and C respectively. As devices through which we can record our thoughts and communicate meaning, they are defunct. Above each keyboard lies a print - each one printed with a different symbol. The ‘symbol’ represents the ‘letter’ printed on the accompanying keyboard within the International Code of Signals. Ships use these signals at sea to communicate to one another. In the context of a contemporary art gallery they perhaps more readily reference colour field painting? Presented as art, tools and languages which enable two-way communication become static objects that surrender to our interpretations.
© 2011