Catherine Wheel

It’s not always clear, even to me, from where these things derive, but my unreliable memory banks tell me that it was the issue of perspective, (i.e., how far away things are, what size and seen... read more from what angle?) that came to the fore during a rather argumentative design process with the band. I’d had this idea for an installation piece which consisted of a triptych: three identical shapes, one mirror, one picture and one window. How would you know which was which? inviting the viewer to speculate (if they’d be so kind). Which is precisely what we did. We built the installation in a grand old Victorian room in Richmond, south west London, with a big French window through which our ‘window’ could look. The ‘mirror’ reflected Rob Dickinson, the lead singer, whilst the ‘picture’ was of an adjacent corridor receding from view but only metaphorically, whereas the path seen through the ‘window’ receded from view physically outside into the park and the view in the ‘mirror’ receded in the opposite direction inside back across the room . All of this seemed jolly interesting to me at the time - what clues tell you what, what shadows or perspectives or sizes keep you correctly informed?. Still seems interesting, though I detect that the invitation to explore may not be as persuasive as I’d hoped. But then nothing’s perfect, not even in hindsight.

Approximately 300 8x6 colour prints temporarily attached to silver birch trees. The eyes have it.