In search of you, in search of us
‘In search of you, in search of us’ investigates the regenerative quality of fantasy, its relationship to
nostalgia as a visualization of fantasized time through the materiality of resin, crystals, wood, and clay,
and its ability to conjure sensation. The work explores the seeking and continuous search for permanence
to the impermanence of time and merges memories of loss with fantasised time as a fragmented dream of
what could have been.
Acting as a metaphor for the crystallisation of fantasised time, crystallisation is specifically chosen as a
process and material for its relationship to time and prolonged duration throughout its formation process.
Resin is chosen as a material for its long duration in drying, its relationship with the idea of prolonged waiting
and time, along with its encapsulation, preservative quality, translucency, fragility, and ability to shift from liquid
to solid state. The fragility and preciousness of fantasised time are symbolised through the use of fabric as a
symbol of impermanence and its crystallisation as a form of encapsulation. Wood and clay are specifically chosen
as a symbol of the natural world, and represent an in-between state, between fantasy and reality. The regenerative
quality of fantasy is metaphorically symbolised through the processof moulding, pinching and casting, where the
original form of clay is negated, shaped, and reconstructed to reach a new being. It draws connections in the
relationship between crystals, resin, wood, and clay to suggest the melancholic fleetingness of a fantasy and the
endless search for permanence within the impermanence of existence.
Comprising sculptural forms that take the form of a dollhouse, watches and a pocket watch, they borrow forms
from physical objects, altering and merging fantasy, fiction, and reality into ghostly figments devoid of physical
function. The sculptural forms examine the duality of beautification and lamentation of flights of fancy,
drawing reference to its in-between state,between fantasised time and memory. Containing overlapping details
that form a crystallised labyrinth on the surface of the objects, the work probes into the finality of a fantasised
moment and the search for its permanence through the act of encapsulating its motion in time. The regenerative
quality of fantasy is investigated through the repetition and overlapping of details which represents an
encapsulation of fragmented time crystallizing into a labyrinth of reveries, possessing an ethereal hollowness.
Using repetition and difference, the details resemble and differ from the previous, exploring an inability to
reconstruct in fullness an account of past dreams and its remembrance due to constant progression.
nostalgia as a visualization of fantasized time through the materiality of resin, crystals, wood, and clay,
and its ability to conjure sensation. The work explores the seeking and continuous search for permanence
to the impermanence of time and merges memories of loss with fantasised time as a fragmented dream of
what could have been.
Acting as a metaphor for the crystallisation of fantasised time, crystallisation is specifically chosen as a
process and material for its relationship to time and prolonged duration throughout its formation process.
Resin is chosen as a material for its long duration in drying, its relationship with the idea of prolonged waiting
and time, along with its encapsulation, preservative quality, translucency, fragility, and ability to shift from liquid
to solid state. The fragility and preciousness of fantasised time are symbolised through the use of fabric as a
symbol of impermanence and its crystallisation as a form of encapsulation. Wood and clay are specifically chosen
as a symbol of the natural world, and represent an in-between state, between fantasy and reality. The regenerative
quality of fantasy is metaphorically symbolised through the processof moulding, pinching and casting, where the
original form of clay is negated, shaped, and reconstructed to reach a new being. It draws connections in the
relationship between crystals, resin, wood, and clay to suggest the melancholic fleetingness of a fantasy and the
endless search for permanence within the impermanence of existence.
Comprising sculptural forms that take the form of a dollhouse, watches and a pocket watch, they borrow forms
from physical objects, altering and merging fantasy, fiction, and reality into ghostly figments devoid of physical
function. The sculptural forms examine the duality of beautification and lamentation of flights of fancy,
drawing reference to its in-between state,between fantasised time and memory. Containing overlapping details
that form a crystallised labyrinth on the surface of the objects, the work probes into the finality of a fantasised
moment and the search for its permanence through the act of encapsulating its motion in time. The regenerative
quality of fantasy is investigated through the repetition and overlapping of details which represents an
encapsulation of fragmented time crystallizing into a labyrinth of reveries, possessing an ethereal hollowness.
Using repetition and difference, the details resemble and differ from the previous, exploring an inability to
reconstruct in fullness an account of past dreams and its remembrance due to constant progression.
