Lines of Incidence is a collection of works constructed from prefabricated architectural trim used in domestic spaces. These materials are chosen for their inherent decorative and ornamental qualities in addition to their precise machine made form. As a result I see these sculptures as manifestations of a formal tension that appears to embody conflicting interests. On the one hand materials are used for their 'freer' expressive ornamental characteristics while on the other their strict inbuilt form lends itself to the formal considerations of order and repetition of form and design. While I work with these elements formally, I intend my works to have a more personal and resonant meaning as they are the result of reflections upon remembered domestic spaces and as such act as 'dispatches' to a lived past. This is of a childhood lived in Victorian terraces whose intimate spaces were defined by the decorative ornamentation of ceiling roses, cornices, skirting board and sculpted masonry trim. The use of such materials reflects my interest in order and repetition in forms, yet I am also conscious of the necessity to employ a hand painted finish and an intuitive approach to colour. Lines of Incidence is therefore about memory and the formal concerns and tensions between expression and order.
Image above:Nuha Saad
PROJECT ROOM slipslidingaway Kay Wood
With painting operating as a metaphor for self identity, these works are somewhere between self portraits and private landscapes. They point to the slipperiness of memory as it juggles the contradictions between adolescent fantasy and hope, and the reality of adulthood. Operating according to no structural logic, these paintings feature atomistic juxtapositions of personal whimsy and idiosyncrasy. Leaving behind their locus in primary experience each fragment speaks only of an emotional attachment to particular images and colours, and floats in a loose unification of disparate parts.