To create the mass-produced images, one guiding notion was that through technological development, and particularly computerisation, our physically built world is becoming flatter due to the limitations of computer technology applied to spatial 3D results. And in turn, through this flattening process, much knowledge is being lost as many skills and techniques of analog craftsmanship disappear.

 

For this reason, as a sculptor it became imperative to re-introduce my 2D mass-produced images into a spatial realm, in order to test, explore and re-invent “flatness” and “infinity” within the context of “sculpture”, which culminated in Column I and Column II. In this way a resurrection, a defense of three-dimensionality was undertaken.

 

The surfaces of both sculptures were covered with the first two slide-collages from Hakenovsky’s Little Nap, the images being wrapped around the corners of the ceramic columns, continuously repeating themselves and their reverse images along all three cartesian axes: x, y & z. to achieve this result, the transfer decal process was used to apply the images, prior to re-firing the columns.