The Living Surfaces exhibition allowed me to place the new work (in the form of surfaces as well as photographs) in context with the photography that inspired our collaboration, exemplifying the transcendence of scale in the forms and patterns in my work. Of the photographs, a massive glacial Patagonian landscape (100x150cm, previous work) sits comfortably next to an 80x80cm photograph of crystals on an 8x8cm sample of mortar.
Stephen and I led some groups around the exhibition and discussed our work and the collaboration.
I’ve always played with scale and pattern in the landscape, especially at the boundary where nature and man-made meet, from passive to more active involvement. In A Cure for Concrete I have been guiding the pattern creation myself and learnt that a chemical reaction created its own natural, organic form, such as a spectrum where the colour changes are unpredictable.
A Cure for Concrete 