In an attempt to understand the place of humanity as our relationship with nature evolves, these works develop on a repertoire of responses to the elemental nature of the environment using archetypes of natural form that are expressed in human cultural tradition. Referencing both nature and the divine, the form around which these three dimensional works are based, is constructed by a series of concentric overlapping circles.. This form, sometimes known as ‘the seed of life’, ultimately describes the hexagon. In the natural world, the hexagon is found in diverse places such as the cells of a bee hive or wasps nest, in certain structures in the aquatic realm and in the architecture of many plant forms. The seed of life and it’s permutations is represented in many, many human cultural and spiritual traditions from Buddhism to the Kabbalah, the vesica pisces of the Christian tradition is a component of the seed of life and it is seen carved into the ancient architecture of the Egyptians. Implying infinity, these works present the geometry in it’s fractal form, the whole is to the larger in exactly the same proportion as the larger is to the smaller.
Natural and man-made materials evidence our interface with nature. Poker work , a craft technique common to many cultures is used to burn into, and to etch out the motif from the various hand made papers. Echidna quills collected from the road side and feathers from a lyrebird killed by a fox, are assembled alongside mass-produced dress makers pins and glass beads.
The hexagon speaks of Bees, and it is Bees wax that both binds and induces transparency to the fine paper layers. Bees have long been a symbol of community endeavour, of love and harmony, and the wax, the substance that binds, speaks of our common bond as humans, and of the interconnectedness of all things.