The Solids are made by casting pigment-dyed plaster into flexible fabric and rubber moulds. The resulting ‘self-shaped’ pieces have been joined to each other with new castings. The cast pieces are partly sawn and ground.
The cast form is a physical recording of the empty space within the mould and the material surrounding it, which is made in a single process. When colour is created with the same act of casting, this is a parallel to the painterly gesture. The gradual setting of the fluid plaster in the mould during the working process is the period of exposure during which the piece acquires its final shape and colour. Superimposed colours on a piece mark its history in terms of time: the acts of casting, setting and new casting are sedimented into the layers of colour of the work.
The dyed plaster has no separate surface or form. Instead, the work can be regarded as continuing unaltered throughout the piece. This property makes the pieces boundless in terms of their material and colour. The roundness and infiniteness of the forms do not arrest the viewer’s gaze but direct it to continue around the piece. The Solids fall into the areas of both the gaze and the corporeal senses. Colour is perception and space, but also the movement and time required by viewing.
The titles of the works are based on the sounds produced by letters in the body. They have no relationship with the meaning constructed by letters. The sounds are different and personal for the individual viewer depending on his or her linguistic background. The title of the piece is an identifier comparable to a proper name that underscores the individuality of the works.