STEPPING INTO THE UNKNOWN 1

Happenchance, serendipity.
A piece made too quickly, slumped and beyond repair revealed hidden openings when the middle section was pulled apart.
Thoughts of entrances to passageways, stepping into places unknown led to forms with wider openings and an exploration of internal space. In metamorphosis, stick- like forms began to take on new meanings.
Openings, the junction between internal and external space became increasingly important, as did the placement of the forms leading to different readings.

As these forms grew and changed, so the visual language, methods of making and concept changed in step.
No longer confined only to ideas of migration, the notions underpinning this research became broader but at the same time more personal, allowing for wider interpretations. Ideas of the journey focused more on Stepping into the Unknown rather than the migratory journey and what could physically be carried on it. With this shift of perspective, the unknown began to encompass all things unknown and the disquieting, unsettling emotions this brings.