This work samples a selection of my research material over the past academic year, as I entered them in my sketchbook.
The many sources are jammed in to describe the infinite range of information that relates to the concept of spacetime.
This compressed information also exposes my struggle and confusion in assimilating this information and making sense of such an intangible and complicated concept.
Whilst the black canvas and white writing evoke the blackboard and chalk Einstein often worked with, they also allude to the visual representation of the concept of white lines on a black background.
Analemma’s Anomaly, 2016, mixed media on canvas, 100 x 100cm
This work underscores how the laws of physics, which apply to our life on Earth, are redundant on a cosmic scale, where space and time become intertwined and observer dependent.
The cogs are mostly tied up. A hand is rotating but there are no numbers to mark time. One clock’s face is distorted to symbolise warped time. Another face presents a tunnel of lights that seem to recede towards an imaginary vanishing point. Religions are evoked, referring to our differing beliefs over creation and fate, whilst Mickey Mouse might be as relevant a factor for others.
NB: An Analemma describes the sun’s positions in relation to Earth over the course of one year. It also evokes the ancestral way of reading time or charting spatial position. Sundials, clocks and compass were subsequently invented to measure time and location more conveniently and finally the GMT was established to synchronise our world.
Spacetime fabric Studies, May 2016
Spacetime study on a Beachball, April 2016 , 60cm diameter
On the assumption that the universe could be spherical, I transferred this representation on a black painted beach ball (60cm diameter).
This piece is an example of my investigation and evokes the most common visual representation of Spacetime, a two-dimensional white grid (symbolising light paths in a vacuum) on a black background (representing the cosmos).
Additional arbitrary wave refer to the recent discovery of gravitational waves, validating Einstein’s theory of General Relativity.
This piece has a spiritual angle evoked in its title: ‘Where are we now?’. Indeed, it is the title of a David Bowie song which suggests a connection with the dead. The triptych presentation adds a divine quality.