From a distance the rippled edge of Tilt creates a shimmer reminiscent of an object in a hot, arid landscape. As the sculpture is approached the landscape closes to a small, rich visual field where the eye is required to explore the object to gather information for cognitive interpretation. In the publication Pedagogical sketchbook, Paul Klee says: ‘The limitation of the eye is its inability to see even a small surface equally sharp at all points. The eye must “graze” over the surface, grasping sharply portion after portion, to convey them to the brain which collects and stores the impressions.'
The optical nature of this sculpture is part of an enquiry into the processes and conventions of geometric abstraction. Tilt has no distinct relationship with a grid or pictorial plane, and was developed from a line of double curvature drawn on a board where the side of the board represents gravity, and the base of the board the horizon. Through form and weight Tilt has chosen its own place of rest and does not have a predetermined top and bottom, sides, or front and back.
I am interested in the process of sculpture; how it is made. I am also interested in the transmission of ideas and the development of rules, protocols and language within visual art practice. Part of this is the definition of difference between an object and picture plane, and how this difference marks the territory between sculpture and other visual art activity.
 Paul Klee, Pedagogical sketchbook, London: Faber and Faber, 1977 (reprint), p.33.
Photography: Janet Fisher