The layered forms were initially inspired by the exposed section of a huge felled tree which I discovered in the densely overgrown gardens of a 500 year old Tudor Hunting lodge. I do not know the exact age of the tree, but it was obviously a very, very old and I was overcome with the sense of the passage of time, which could be read like a narrative within the rings of growth. The varying widths of each band recorded a history of the tree’s life and time as it responded to the weather, sunlight, other plants, water and probably thousands of other factors over each year of its life.


These pieces are a product of my attempts to represent natural forms which grow over time in response to dynamic systems. Organic processes interest me because they produce complex, intelligent forms with a sublime quality that seems to exceed the boundaries of human creativity. The sections are the most refined expression of this process to date, reducing a remarkable amount of information into a series of layers, contours or skins which can be represented using a series of highly legible lines. Just like natural forms, each one is unique, though they belong to a family of many siblings grown from the same set of algorithms.


The sections are about capturing natural growth mathematically and producing a rationalised, synthetic imitation. Each section has the beautiful complexity of the organic form, freed from the huge, heavy ecosystem of the dead tree. They are not drawn or designed by an artist in a traditional sense. Rather, I create them by writing digital algorithms (lines of computer code) which define clean curves, and then carving them into grooves on sheets of resin. The grooves are painted to give depth and accentuate the beauty of each complex narrative.


1 Comment

  1. Calan

    Ooh I like this. I like the perspective and depth in the photo second from top. The further away you are the better. If the art was too big, and the space small, you wouldn’t get the same depth from it.

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