I have a professional involvement and interest in architecture and reading about Frank Lloyd Wright’s Taliesin project, I saw that his practice seal was a red square. That motif stuck.
I’m also interested in designed landscape. I’d lived in Japan as a child and remembered the gardens and the balance of elements, of stillness and pace, the weight and considered placing of rock, suggested movement of arid gravely surface and the anchor of mossy mounds eye-popping red architectural elements emphasising the differences between the natural and manmade.
The square seemed a natural progression from carved stone circles. I needed a new material and wanted to work in a variety of scales, which metal allows. I also wanted to work with light – not artificial light, but real light – and to combine it with colour, the essential adjunct.
The Red Square is an optical work. The proximity of orange and red planes bounces light around, intensifying altering the depth of hue and and tone. Much like elements in Japanese gardens, the Red Square compliments nature in form and colour, and it needs time and light to reveal itself. It’s is not a contemplative work necessarily, more a reason to stop and stare, to be still for a while.