My intention with the emotional aesthetic with these simple sculptures, made of found and bought objects was to create an accessible and half recognisable safe space. A space of the natural, a space made of the discarded, or of the unvalued, a space that was inert and motionless, free of drama, stimulation and the noises (audible and visual) of the modern world, a meditative space that was, with great leaps of fantasy possible of transporting the user through time and space, where like the obvious parallels in Bonsai trees, scale becomes distorted and both irrelevant and the genesis of the fascination.
Shortly after creating the sculptures they took another form in their presentation online and in prints, by placing these small object in stark contrast to manipulated and altered public domain imagery of nebulas and galaxies that always leave me in with a sense of awe and disbelief at how magnificent life is when we move past these mundane preoccupations and into a sanctuary of the infinite.
These miniature sculptures were originally conceived as partner pieces to 'The Antidote' paintings on map, a way of softening the stark minimalism of the paintings, a focal point in the bleak landscape, a way of resisting the temptation to place a focal point on the paintings, or at least to place a distraction in the way of doing so until I gained enough confidence in the minimalism of 'The Antidote'.
An influence that I probably pieced together after I had created the initial piece was the film 'The Fountain' a Darren Aronofsky film that I deeply love, that and an unfulfilled desire to cultivate Bonsai trees as an almost meditative practice.
The music I was mostly listening to whilst working on these was the soundtrack work of Nick Cave and Warren Ellis.