Throughout my career as an artist I have had recurring themes that have developed in widely differing ways. I first started using rope as part of sculptures in 1972 when I wrapped up a chair using a spiralling rope as part of a show at Cardiff Art College. Using doors within an art piece first occurred as part of a performance with Ian Hinchliffe at Wilryck University, Antwerp in 1979. Suits were first introduced into my work when I was working with wood chips throughout the 90's. Initially the suits were used as hollow structures with which the wood chips were supported. Later the suits became extremely solid by being filled with concrete.
In the year 2000 I started to move away from permanent sculptures and began using a range of materials that could be easily manipulated to create sculptural forms. These sculptures were never meant to be permanent within themselves and were created for photographic record. The photographs were the things that would be eventually exhibited. By the production of these “photosculptures” I found myself becoming increasingly interested in the process of production that went with the final result. Having worked with Matt Brownsword since 2002 on film projects I began to experiment with recording the production of a sculpture using time lapse film techniques.
The process of time lapse film making seems to offer a way of exploring a blank canvas using kinetic brush marks. In the “doors of perception” film a number of themes are brought together. The ropes become both a way of anchoring the piece to a base but also as a way to entrap the suit within a layer which is both a burden as well as a way to feed energy into the sculpture. The entanglement of rope can be seen as veins, that become an essential source of energy for the sculpture to function. As the ropes disentangle themselves and the figure gains freedom from them it takes its first shaky steps.
The process of production of the stop motion film in itself embodies the piece with a vitality that can be exploited to extend the life and animation of a sculpture. They engage the viewer in the process of making and unmaking.