Dating stanley wood planes
Continuing this process of erosion, the minimal act of carving two perfectly flat intersecting planes by hand into the stone results in a paradoxical object, part raw geology, part human intervention The two planes are covered in a constellation of concavities that are an expansion of marks made with a hammer and punch during an attempt to articulate a grid of points with eyes closed, that act as a memory of the analogue process with which the work has been made and at the same time allude to the stipple and cuppule marks that are a feature of early human rock engraving Made on residency in the UNESCO designated Cradle of Humankind from the material that gives this culturally momentous landscape its unique form, Forty naturally eroded stones have been collected from the Cradle of Humankind, South Africa, three flat faces have been selected on each stone and the process of reduction has been continued by hand to form intersecting planes.Operating as a portrait of the geology that supported the evolution of our early hominin ancestors, the different stone types in the work are present in quantities proportional to their occurrence in the vicinity of the Plovers Lake early hominin site At the centre of the group is another object that is composed entirely of interconnected triangles.The form is derived from a graph demonstrating the physics of an idealised breaking wave. Marble is a metamorphic limestone formed from the calcium rich exoskeletons of ocean dwelling invertebrates that have sunk to the seabed post mortem and been subjected to intense compression as a result of the mass of their accumulation and the weight of water above them.Metamorphosed through heating and liquefaction in the earths crust, the goo finally cools, re-crystallised and solidified as stone The use of a wave form to disrupt a determinate geometric pattern (or vice versa) has a mesmeric effect on our visual perception - from some perspectives the form seems recognisable, from others it has an ambiguous quality as the surface forms are visually eroded by the black and white geometry in the base material.Charting the moment of climate change that we are now in, they are in a sense, about the price we pay to see.It is darkly ironic that our mastery of resources has led to the evolution of powerful technologies that enable us to understand the world better than ever before, at the same time that our desire for knowledge and the nature of the industries that have supported that enquiry continue to damage the network of things that we are attempting to understand Yearly graphs of ocean wave heights from a number of randomly selected locations have been robotically milled into slabs of cast sea-salt recycled by desalination plants.From some perspectives the objects seem recognisable, from others they have an ambiguous quality as the forms are visually eroded by the black and white geometry in the base material.This perceptual phenomenon acts as a metaphor for the contemporary digital moment in terms of how envisioning technology gives us a way of seeing elements in the world but simultaneously fragments it, unable to describe the totality of the relationships involved We live in a precarious moment, environmental degradation resulting from un-sustainable living threatens our existence as a species.
The works reveal the tendency towards decreasing cloud cover, symptomatic of climate shift and global warming When taken at face value, this series of 3 wall based works - individually titled after various locations - have a pared down aesthetic, presenting seemingly abstract patterns rendered in materials with low-key sensuality.
Technologies are a natural way of thinking out into the world - an act of extended cognition through engagement with materiality.
The issue we face is how to navigate the distorted perspective of reality that technology often engenders so that we can see the whole rather than just the parts This new body of work uses a range of media to explore relationships between environmental phenomena, the fundamental materials that constitute the stuff of the world, and the contemporary envisioning and production technologies that we use to understand and interact with them.
The black and white patterns have a binary, pixel-like quality that alludes to how information is processed and transmitted digitally.
Two forms adapted from data relating to the physics involved in the formation of a breaking wave, and two moments edited from three-dimensional data of a cumulus cloud supercell forming and disintegrating over time, captured by meteorological balloon over the Congo Basin in Central Africa, have been cut into variations of the black and white blocks using robotic milling technology Paradoxically, the origins of marble are bound up with the ocean and the ecologies it supports.