Com­po­si­tion

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For me it’s about ar­rang­ing things that have po­ten­tial to strike up a con­ver­sa­tion with each other, and whomever en­gages with them. That con­ver­sa­tion might be a hu­mor­ous one, or one about colour, func­tion, ma­te­ri­al­ity, pol­i­tics, gen­der is­sues, en­vi­ron­men­tal con­sid­er­a­tions. From a prac­ti­cal per­spec­tive, I love to take time po­si­tion­ing ob­jects in re­la­tion to each other.

It’s al­most med­i­ta­tive for me, and feels a bit like the ob­jects are danc­ing, with space as their part­ner. The ob­ject, the space and I re­spond to lit­tle ac­tions from each other, work­ing out a nu­anced part­ner­ship that feels com­plete. Slight move­ments a few cen­time­tres or so cre­ate the ten­sion or flow of the con­ver­sa­tion to just what works in re­la­tion to the in­ten­tion. In gen­eral, when I think about es­tab­lish­ing com­po­si­tion and char­ac­ter I would sum­marise it like this: I like push­ing against and dis­rupt­ing the sys­tem in some in­stances, but have ar­eas where re­spect of craft, or de­sign his­tory, or other as­so­ci­a­tions kick in and I flip back to be­ing a lit­tle more rigid. It’s all about creating bal­ance.

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