In this body of work I was exploring abstraction through the process of making. My aim was to blur the function of the mould as a means to make an accurate representation and to create something that is both familiar and unfamiliar.
I took common, domestic and recognisable forms and put them through a series of transformative, moulding processes. The more I subjected the original objects to these processes the more abstract they became, until I was left with a fragmented form containing an impression of the original. These final forms are often mould fragments, containing an imprint of the domestic readymade object, juxtaposed with the rough, tooled surface of the sculpted plaster. These tool marks illustrate the action of the sculpting process and allude to the physicality and tactility of making. The translation of the forms into glass gives them the quality of transparency, adding another spatial dimension to the work. The internal space of the object is revealed and one surface can be viewed by looking through the other.
In some of the pieces I have suggestively drawn attention to the space between objects. This is a space that is not necessarily apparent and does not have finite dimensions. By expanding this space and materialising it in glass I was able to highlight the dual negative and positive impressions of the same surface.