Everything that happens takes place somewhere, in a particular physical or cultural space. The character of a place is constituted, its distinctive timbre generated, by the constellations of events occurring in it and how those blend, interweave and play out over time. Such textural qualities infuse and inform our experience of places, they shape our ‘knowing’ at a visceral level that goes unnoticed in our ordinary lives. Our conscious awareness of the places and spaces we visit and inhabit is filtered by our interests, honed through habit, marshalled and constrained by conventional perceptions of what matters. The contingent qualities of places beyond the purposes they serve for us are rarely considered and harder to attend to. But if we want to appreciate the world in its own right, not just in ours, finding ways to do so seems worthwhile. Artists adopt a variety of strategies to penetrate beyond the more obvious features of place. Some seek estrangement through the systematic application of arbitrary rules, others through strenuous efforts of will. I use ways of looking and thinking that are grounded in my experience of training as a glassmaker and developed using photography and video. My approach employs a broadly defined ‘glass sensibility’ that encompasses both the physical abilities of glass to mediate visual perception and their metaphorical correlates as shapers of ideas. My mode of enquiry is the essay, a flexible and open-­‐ended form of reflexive investigation that is highly attentive and responsive to its subject matter, and follows where that leads. But unlike other essayists who pursue their trains of thought in lines of words, my attempts at understanding are more visual. I explore my chosen places -­‐ a bus, a train, a road junction, a kitchen, a forest, a park, a desert -­‐ by spending periods of time in them doing whatever being there generally involves whilst also noticing how things happen and taking photographs. What I’m looking out for are telling facets, small examples of conjunctions of events which I can somehow ‘cut and polish’ at the critical angle that aids transparency, letting light in on the intrinsic character of the place and making it sparkle. The substantive outcomes of these essays are new awarenesses that bypass language; but each is accompanied and supported in the thesis by a textual account of how it came about. The contributions made by this thesis are three-­‐fold: It expands the repertoire of strategies for appreciating place, develops a novel understanding of how glass-­‐based thinking may inform processes of exploration and offers a new, more literal, version of essayistic reflection.

The visual system generates the perception of a world of meaningful three - dimensional objects from a stream of retinal signals – in the psychologist Richard Gregory’s words ’images in the eyes’. When this perception is consistent with information from other sources such as the ears and the muscles that guide movement, all is well and we are almost entir ely unaware of this process. But when it is not, we see illusions. To adopt Gregory’s phrase, ‘strange phenomena that challenge our sense of reality’ 1 . The project is inspired by the work of the German artist Ludwig Wilding (1927 – 2010), who refined appr oaches to the everyday phenomenon of moiré interference patterns to generate dramatic illusions of depth and movement in shallow box frame structures. 1 Gregory Richard L. 1990. Seeing Through Illusions . Oxford: Oxford University Press. p186 Based on the principle that the intersection of two sets of parallel lines generates the appearance o f a third set of lines, or moiré bands, Wilding’s innovation lay in the discovery that, by introducing a shallow space between the two layers of printed lines and by tilting and rotating them , the size and orientation of the se moiré bands can be manipulate d to produce converging contours and texture gradients that are perceived by the visu al system as forms in depth. This thesis builds on these observations to investigate the potential of the material and optical qualities of glass in combination with moiré interference effects to generate inconsistencies between th e images in the eyes and the objects that produce them, creating illusions of space.

Thesis (Ph. D.)--University of Warwick, 1990.

“Wearable Metal Origami” is a research leading to a collection of wearable objects, made from metallised folding textile. The research engages with current concerns in industrialised society, where new materials and innovative products are in demand. The material I have developed is influenced by historical and contemporary jewellery and clothing as well as by deployable structures; folding patterns are based on folding patterns in nature and on the knowledge of origami mathematicians; production processes include traditional printing and jewellery techniques. Bridging all these disciplines, the outcome is a novel material that could be used in various design fields but is particularly relevant to jewellery for its striking visual character, its flexible movement which easily adjusts to the human body, and the possibility to use precious metals. I based my research in the department of Goldsmithing, Silversmithing, Metalwork and Jewellery because this department had helped me develop the initial material during my MA course, so I knew it could provide me with the necessary equipment and support in designing wearable pieces. My project was finally conducted within a departmental team research project (Deployable Adaptive Structures) in which my colleagues investigated the broader application of metallised or otherwise tessellated folded textile in such fields as interior architecture, sunscreens and water sculptures, and ways of actuating the material either virtually or by mechanical means. ““Wearable Metal Origami”?” is based on MA project work, where I had used one folding pattern and found one production method. I strongly believed that this material would be ideal for the creation of jewellery and larger wearable objects if I could expand the range of flexibly moving patterns, improve the production process of the material and develop appropriate design processes. My research set out to fulfil these requirements and prove the value of the material in the context of metalwork and jewellery and the applied arts. To expand the range of folding patterns I collected and analysed existing tessellating origami patterns. With this knowledge I created my own variations. All patterns were evaluated on their suitability for “Wearable Metal Origami” and a basic classification was made, based on their folding properties. A small selection of patterns was then tested to get an understanding of the influence of plate thickness, hinge width and hinge flexibility by making card-textile and plywood-textile models. I developed and tested new processes for the production of the metallised folding textile. These included preparatory processes (before electroforming), electroforming and various ways of treating the material after electroforming. Each process was evaluated on its practicality. To develop appropriate design processes for wearable objects of Metallised Folding Textile I ran four case studies, each with its own design brief. I set the briefs in such a way that they addressed different parts of the body and different qualities of the material, such as changing shape and flexibility. For each application an origami pattern was chosen and adjusted through a process of trial and error until it had the correct proportions and movement.

This project has visually explored the relationships between language, knowledge and subjectivity. Its conceptual foundations have been developed through an engagement with post-structural theory, literature and personal experience. Its visual language has been formed by adopting aspects of the theories of postproduction and relational aesthetics of Nicolas Bourriaud in tandem with early conceptual arts aesthetic of administration. The result of the project is a series of installations that focus on viewer experience and offer the possibility of developing new narratives about our relationship to language and knowledge. The installations incorporate already existing materials, cultural signs, objects and ideas associated with institutional practices of collecting, manipulating and disseminating information. The familiar language of bureaucracy has thus been used to create a network of seemingly interconnected scenarios that engage the viewer in the shifting roles of protagonist, subject, witness or voyeur. A sense of uncertainty and confusion is produced, evoking the idea of a fractured subjectivity in a state of limbo, a condition in which meaning is gained only through attempting to piece together the different narratives on offer. The nature of our relationship to language and knowledge is thus evoked through physical and psychological interaction as well as visual engagement with the work. The project's concern with language, knowledge and information systems harks back to the conceptual art movement of the1960s and to contemporary art's accompanying engagement with philosophy, in particular post-structuralism. Within this context, it has re-visited and re-assessed ideas about the role of language in defining contemporary subjectivity and has explored strategies for conveying those ideas through installation. From Kosuth to the Kabakovs, it references a broad spectrum of artists who have investigated related themes using an almost uncategorisable array of non-traditional materials, styles and strategies. The project has concluded that we are fragmented subjects in a state of limbo, our relationship to language and knowledge characterised by paradox, anxiety, complicity and challenge - and a continued search for meaning and wholeness despite their seeming absence. Ultimately, it has presented the viewer with an opening: a new network of possible narratives about language, knowledge and self. Although these narratives appear to be linked, they fail to come to a neat conclusion. Just as contemporary subjectivity is in a state of limbo, so too, are the scenarios depicted in the installations.

This research project investigates visual metaphors for aspects of the nature/ culture paradox. Modern human beings formalise nature, natural elements and natural processes by quantifying and qualifying the environment to better define themselves. A desire to comprehend and gain control over nature is expressed through the imposition of artificial systems and mathematical descriptions. However, the forces of entropy and decay are ever present. Despite attempts to suppress these physical processes, humans are necessarily bound to a common material existence. In response, attainment of a spiritual dimension is sought through cultural expression. The project explores how the nature/ culture paradox is manifested in the phenomenon of landscape design, especially formal gardens of 18th century Europe, including features such as Platonic forms, labyrinths, mazes and meanders. Particular attention is given to the work of Batty Langley. The investigation is located within an international field of artists concerned with the culture/ nature question. The enquiry considers artists who create visual representations of symbolic pathways, such as Jorgen Thordrup and Marianne Ewaldt. Land and environment art is examined with regard to concepts of order, disorder, entropy and stasis, emphasizing those artists such as Robert Smithson, Nancy Holt and Jurg Altherr, who contrast artificial constructions with natural settings. It also considers the appropriation of nature in a search for the sublime through the sculptural installations of Anja Gallaccio. Examination of formal garden features has informed new hybrid motifs which are developed in the work for this project. The application of these designs to the sculptural and installation mediums has involved innovative usage of materials and techniques. The development of a personal symbology to present metaphors for order and chaos/ entropy and stasis, has produced new juxtapositions of man made forms and natural elements. Exploration of the viewer's engagement with space and physical ambience, including smells, has also been an important element of the work. In addition, new methods have been developed to visualise concepts through computer generated virtual drawings and, to present the preparation and exhibition of sculptural installations through digital photography. Finally, the project considers the spiritual dimension within human culture, employing a number of universal symbols in new ways to create works, which echo both eastern and western sensibilities, for example, metaphorical methods for attainment and links between Buddhist and alchemical symbolism.

The project addresses issues of value and meaning in objects while at the same time considering more sustainable approaches to designing, making and consuming, through the reuse of already existing materials. By exploring concepts such as durability and ephemerality, the precious and the mundane, I have sought to show possibilities for reconciling the production of objects with reduced environmental effects of their production, use and disposal. This was an issue that tended to be neglected during the period of modernist design with its embracing of technology and the machine aesthetic. Since the 1960's with the emergence of designers and writers such as Victor Papanek and Buckminster Fuller there has been a growing concern to develop more sustainable approaches to design, and a broader consideration of meaning and engagement with objects. Some of the significant contemporary designers addressing these issues include Paolo Ulian, Hella Jongerius and Constantin and Laurene Boym. It is with reference to this field that I contextualise my practice. Through the research project I have recognised the importance of a local focus, in supporting more sustainable approaches and engagement with objects. In the process I have identified factors specific to designing with reuse materials, and have used them to guide the direction of the research. These include: material availability, perceived value of materials, time or cost required to achieve a high finish, design complexity and sophistication, and perceived value of the finished product. What has also emerged from the research is the importance of commercial considerations in designing for sustainability, as I believe economically viable objects contribute more than purely symbolic ones in influencing the perceptions and habits of designers and consumers. The project has shown that engagement with objects and sustainable approaches, when considered as integral to a design's development, can be mutually beneficial and lead to aesthetically sophisticated and highly valued objects.

This project investigates new ways to apprehend and visually reconfigure aspects of concealed or disputed pasts.' The intention of this work is to enable a viewer to experience obscured or nearly forgotten narrativesnarratives of memory, time, absence, location and representation. The works utilise found and constructed objects and techniques from the visual arts, the museum, the library, the shop, the garden. One common methodology is the arrangement of multiple objects to activate a surface optically, and encourage a viewer to read it as a means of temporarily holding the objects in place. In doing so they find themselves part of the work. These pieces are experiments in understanding how viewers can travel around an artwork and in this process move their position back and forth, flickering between past and present and personal and national memory. Most works incorporate ideas of movement or stasis either technically or in the story which they may be partially relating to the viewer. This suggestion of waiting or of motion summons a viewer to enter into the work as a timekeeper. This is an anxious position where many of the materials inviting curiosity, and initially implying the humorous, accrue a sinister edge as the viewer reaches a point of understanding his/her caged predicament within the work. For the first time all these works will be exhibited together. Showing them in different locations raised considerations of setting both spatial and conceptual - and recent works have developed that are about journeying across time and place. The investigation has emerged from very personal considerations of the place of memory, forgetting, loss, denial and the potency of the past within my own family. Artists who have explored similar terrain, visually reconfiguring the marginal or the textual, include Gordon Bennett, Fiona Foley, Tracey Moffatt, Christian Boltanski and Fred Wilson. This project has been a journey through many stories across time. These have inevitably been incorporated into my own memory, my own life, and my own increasingly open narrative of deciphering self in the process of relating the past. Each work has been built from the outcomes of the last, and represents a claiming within a larger consideration of ways to personally invoke and involve nation, viewer and self in acknowledging our entangled histories.

Diss.--Lund.

Thesis (Ph. D.)--University of Wisconsin--Madison, 1954. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves [157]-[159]).