My development of the traditional relief sculpture has been to abstract the form to it's minimal conclusion.
Early works, like "Three Figures" are a series of triptychs,
with the composition built up from the main panels.
Carefully positioned lighting will emphasise the forms portrayed on each panel, which link together to form one complete composition.
Recently, I have abstracted the format of the triptych further.
I had always kept to the standard formats of three parallel panels :
Three rectangles to form a square
Three squares to form a rectangle
I wanted to integrate the space between each panel to form part of the composition itself. This creates a wall mounted sculpture which is composed from three separate pieces, but the space between them is now essential to the composition.
My abstraction of triptych panels led me to reverse the traditional thinking of adding layers to a panel, I therefore started to cut shapes into the panel in order to describe the composition.
Therefore the space which is left (the bare wall behind the piece) is the main descriptive element of the sculpture.
When viewing a free standing sculpture, your appreciation of the piece is not just determined by viewing the positive form in front of you, it's also admiring how it cuts into the space around it and the shapes and forms this produces in the environment it stands in.