SCULPTURAL OBJECTS

Concave Mast grew from the same questions that run through the mast works and the Writing on Water paintings. How movement, light, surface and force organise themselves into structure.

The work consists of a stainless-steel tube bent into a concave mast, almost like a half-circle. From its upper horizontal bar hangs a separate rectangular field of small stainless-steel elements, suspended on vertical cables. The elements form a light, almost planar sail, approximately two metres high and eighty centimetres wide.

The work moves through two related systems. The curved mast turns on one axis, while the suspended herring field responds on another. Structure and surface are joined, but they do not collapse into a single movement. Wind enters the work and is held, delayed and released through curve, balance and axis.

The concave mast receives the air as structure. The herring field receives it as surface. One curves and carries; the other glints, trembles and shifts as a plane of light. Together they make wind visible without illustrating it.

In this sense, Concave Mast is close to painting. The stainless-steel herrings catch light as the surface moves, producing flashes, intervals and changing planes. The mast resolves wind, the painting resolves light. Both are concerned with structural perception, not depicting movement from the outside, but entering a system of movement and allowing it to become visible.

The concave mast is the painting, and the structural painting is the mast. It stands between sculpture, sail, instrument and image, a work held in balance by air, light and axis.