+ONE

1 & 9 is a surreal investigation of the nature of objectivity. It is the most recent in a continuing series of prototypical forms that address the implication of interconnection. Although the title denotes opposition it also challenges our notion of a beginning and an end which is the root of objective reality.

'Trompe-l'œil is an art technique involving extremely realistic imagery in order to create the optical illusion that the depicted objects really exist, instead of actually being a two-dimensional painting. The name is derived from French for "trick the eye", from tromper - to deceive and l'œil - the eye'

Ingredients: Twelve 3mm wooden dowels cut to eleven sets of six 3" pieces, Shear pinkish fabric, conductive thread and an LED. Each piece of wood cut and sanded precisely to meet at a 45° angle creating 3 equilateral triangles and one tetrahedron. Fabric is draped over monolithic structure attached with conductive thread. LED is added later.

Plasticity of motion is the emotional response to how the body moves and or operates. In theory this is a fluid and angelic-like gesture. However evident, the rigidity of the work lacks an element of flexibility. Although the joints are pliable and built of spring the form is ultimately solid. It is important to note the impact physical stress has on the creative process and how to let go of the constraint of process in order to move beyond a present standstill.

To look out from within seems natural. Objectivity is rooted in the world outside of the viewer. However if we switch the perspective of that which is being viewed is there a clear distinction between inner and outer world? Michel Foucault's notion of Panoptics implies there is a focal point in which all that can be viewed lies within the visible spectrum of the viewer. What happens if the viewer exists outside this visible range? In this instance looking in from without marks the transition from linear to non linear surveillance.