The idea of an ARC… a true perfect arc only resides within the realms of (theoretical) geometry, mathematics – it doesn’t exist.
It can exist in nature, to us, through vague or distant observation but upon further scrutiny it falls to imperfections and no longer is what it was… becoming a microcosm of our experience of reality. We change it constantly through observation.
The Arc series reflects this notion while adhering to certain criteria, set for the duration of the project. Each individual piece should:
- initially be (aesthetically) an attempt at a “perfect arc”
- allow the space to intervene and collaborate in the design of the shape
- involve light
- choose materials that respond to the unique qualities of each site
Arc One (2009 Lake Tyrell, Victoria) map was originally set up as a 100m long gentle arc of rope-light, cutting across the surface of the salt lake. It was left for nearly a month for the lake’s tidal energy to create new forms and encrust with salt – becoming a part of the landscape itself.
Arc Two (2010 Death Valley, California) map using flashlights with a focused beam, spread over a distance of about 25m across the Mesquite Sand Dunes, the piece captures the movement of the sand blowing over the dunes. Originally intended to produce a curved wall of light the predicted sand storm sadly didn’t happen so the cast light was only visible up to about 50cm about each flashlight. The shape of the arc was created by the wind, blowing against string used to mark the course of the arc.
Arc Three (2010 Odeceixe, Portugal) map carved into a curved rock wall the piece balances out the natural curve of the landscape. An unfinished piece, originally intended to be lit from within in such a way that the slit appears convex, in juxtaposition to the concave face. The rock was far too crumbly to carve deeply and accurately enough to finish the piece.
Arc Four (2011 Kinglake, Victoria) map uses the light of the space, rather than an introduced light source, as it reflects off a 30m long curved mirror. The arc curves both horizontally and vertically to create the impression it continues into the ground.
Arc Five (2011-2012 Woodend, Victoria) map a direct response to the site, using only materials found at the site. A 50m long curved wall of felled timber. As yet unfinished, the final stage of the piece will be represented by the timber’s absense, as it will leave a curved depression of blackish mould on the forest floor by preventing light and air reaching the ground at its foundation.