Field Work gives access to objects that derive from the industrial sector, creating sculptural installations that momentarily disturb our conditional relationship to the objects that we have become overly familiar with. The neutral space helps in transforming these objects into a spectacle, bringing their existence back into our visual recognition. Much like the restricted access we have to these sites of construction, Field Work remains as a documented visual for the viewer, as the photograph becomes a form of a past construct which no longer exists, except for within the image. Each image therefore transitions into an impermanent bricolage of objects, as the camera acts as a tool for cataloguing these temporary constructs.
Sculpture often allows the spectator the chance to walk around the piece of art and explore the object from different perspectives and viewpoints; situating themselves in relation to the work. But the photograph’s in Field Work restrict this action, each photograph transforms into a documented viewpoint from the artist’s own eye level in which he personally experienced each installation; this in turn, limits the audience from exploring and deciding how they could individually observe each scenario. Furthermore, these images control the complete knowledge of the contents of each construct, as the spectator is unable to make a judgement on the volume, weight and size of these meticulous assemblages.