Field, seam and spacing

Tutorials with Sarah encouraged me to read the work architecturally. She compared the wave reliefs to a building where stone behaves like a slow current. The comparison turned my attention from single items to fields. When plates sit together the narrow gap becomes a quiet line where one flow meets another. Shadows and join lines do compositional work. Small changes in level pace the eye. I learned to edit strongly. Pieces that were powerful alone were removed when they were too loud in the group. The true armature of the work is spacing.

The field is also where fragments find their place. A shard set in the right company becomes legible as time rather than as failure. Working on paper with fragments made this even clearer. Under raking light the seam reads before the object; the viewer first follows distance, then mass. The discipline that once lived in a grid of panels returns as measured distance in a field of reliefs. Tone shifts, height shifts and narrow seams act as lines the body reads while moving, which aligns with accounts of line as a material practice rather than only a mark (Ingold 2007). Rhythm becomes the primary content.