Although it might look like it's just been thrown together all the individual box sections and framework have been carefully constructed in such a way that the pieces interlock, creating a deceptively sturdy structure – not that I'm encouraging anyone to try and climb it. After the recent destruction of my City sculpture on it's way back from last year's show, The Event 2011, I don't fancy having to undertake more repair work than I already have to.
Discounting the glue, all the materials used in the construction of this piece (mostly wood but some copper piping and small metal fixings) are recycled – even down to the screws. This isn't purely for environmental reasons. It's mainly because I love the patina and 'resonance' of old materials. A lot of the wood comes from the backs of old picture frames or early to mid-20th Century packing cases from the Victoria and Albert Museum, here in London.
With this quick sketch you can see, in the drawing on the left, my initial idea for the Orifice Tower. I drew it whilst waiting for a talk to commence at the Jerwood Space in Bankside. I can't remember now what the talk was about but I remember that at the time I was working on some small sculptures that were basically wooden boxes with carved apertures or orifices in them. By this stage I'd become aware of the fact that much of my work was getting smaller and smaller so I decided to remedy this by creating elevated versions of my new Orifice Box sculptures – which also tied in with my love of tower structures.
In the (almost) finished piece you can see that the top section is basically another of my orifice boxes, with the front panel having been carved from a solid block of wood. One of the problems of exhibiting awkward sized sculptures (this piece is 2 metres tall) is getting them to and from venues so I designed this one so that it bolts together in four sections – making it easier to transport/package and making the bolts a feature of the work.
