The Light-Mass Correlator

Location: Brewery Tap, Folkestone (2017)

Spatialist Daniel Tollady and curator Georgie Scott present their installation, The Light-Mass Correlator. Inspired by JG Ballard’s ‘The Crystal World’, in which a forest starts to crystallise through a ‘leaking’ of time, they investigate how matter can be constructed, arranged and refracted by the electromagnetic force of light. Observers are welcomed to speculate the overactive and accidental process that occurs between the light source and the cylindrical forms creeping across the space.

From the Air

Location: 27 Guildhall Street, Folkestone (2017)

Over two days, this inflatable structure was created during a drop-in workshop held at 21 Guildhall Street, a disused shop unit that has been empty for a long period of time. Members of the public were encouraged to help me assemble the structure, which was then used for a group exhibition, Future Reflections, that same week. To launch the exhibition, contemporary performer Conor Fortune was commissioned to choreograph a performance that activated the structure within the space.


The structure had become a device that altered the immediate environment, disrupting the large volume of space within the building and the grid aesthetic that already existed. As a playful object, it became a tool that visitors could use to draw within the space changing the appearance of the space and the structure itself. 

Special thanks go to Folkestone Fringe for commissioning the workshop, and to Conor Fortune for his wonderful performance.

After Melancholia

Location: Godinton House, Ashford (July-August 2016)

A collaborative project with Dr Terry Perk and Adrian Lovis, After Melancholia was a response to the formal gardens of Godinton House in Ashford, Kent. 

Exploring notions of seeing and lines of sight the work was developed for the location’s annual sculpture exhibition.

The Same Space and Future Reflections, or 
A Fourth Dimension Transition

Location: The Allotment Project Space, Margate (2016)

It is important to establish a spatial theatricality, a structure that continues to change as you are repositioning yourself in relation to it and the site. Points of symmetry emerge as your perspective changes and as quickly as they arrive they depart, the pieces visually reassembling themselves into a system of new relations. Symmetry is achieved intuitively, and not through purposeful design. As the structure is established on site, it reacts to itself and to the context it is establishing itself within and thus, as it develops, a critical and reactionary balance is established – with or without a fluctuating symmetry. Fleeting moments of harmony and dischord functioning in a symbiotic duality. 

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It isn't the structure itself that has always existed, but the concept of the structure that has always existed. A series of elements that have assembled themselves into the present formation to try and realise this concept as a tangible system: a system of edges and surfaces that operate in a boundless synergy of time and space. A spatiality that has materialised within the context of a pre-existing space, functioning as a device to expose what is already there: reality and the mirrored virtual reality. This installation is informed by research from various resources that are both fictional and factual, and condenses them into one coherent theology: a theology that looks to create a new spatiality within one that is already established. 

Temporality and spatiality in relation to the Euclidean laws of space and geometry, structure in three dimensions. A form that has been constructed to exist within three dimensions and experienced in three dimensions. A form that is, in essence, in a permanent state of becoming. It has been constructed and has begun to exist and is attempting to become something more, something complete. 

But what happens when you view the installation through a fourth-dimensional lense? The structure becomes motionless, timeless. Duration and its past, present and future have all condensed into one physical existence and remain exactly as is, an homage to monumentality, an homage to being. Structure and systems creating a new existence of spacetime. 


Location: University for the Creative Arts (2015)

Materiality and Perception

My practice is in a permanent state of flux. Nothing is finished, and nor will it be, because the visual language of geometries that I use is always altering the way in which it is presented. Always becoming. Each structure, each drawing, is a configuration that signifies the arrival of another and a history of countless others.

Trying to document the configurations however is much like a painter trying to paint a river exactly as it is the instant that it is seen. Water is fluid and constantly flowing, so a painter paints the river as it appears every time they glance at it. So really, every painting of a river is a collage of an infinite number of configurations of water that make it. Each drawing of mine is an infinity of spatial relationships that present themselves to me whether I notice or not - only the ones that I have seen are translated and recorded, an idea that can also be understood in relation to my structures. My practice belongs to a plane of spatiality.

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