An enquiry into the simultaneous exposure of the interior and the exterior of sculptural form
This research was a practical investigation into the simultaneous exposure of the interior and exterior of sculptural form. Opaque materials were used to examine the apparent opposition between the terms 'interior' and 'exterior' within a sculptural context. The research was divided into five sections: I first carried out a survey of selected sculpture produced over the last century that had been specifically concerned with interior and exterior. There then followed an introduction to my studio-based work that located my area of research within the context of this survey. The last three sections were in the form of a diary and recorded my studio practice. In the first section of the studio diary small-scale studies, using planar and volumetric materials, were made and resulted in establishing a taxonomy that provided a structure for further investigation. The taxonomy covered six categories, each with sub-categories, such as the moment of transition between the interior and exterior achieved through the manipulation of surface; the influence of implied rotation that investigated the effect of symmetry; and the role of stratification and correlation, which introduced space into the studies and sculptures. I concluded from the first section of the studio diary that the division of interior and exterior was almost exclusively concerned with 'edge' or 'comer', but became more ambiguous when a continuous surface was introduced. In the next section of the studio diary radiography provided an opportunity to see hidden information and simultaneous views that could not normally be seen within an opaque form. The two-dimensional radiograph revealed a continuation of line from exterior to interior, which I extended into three-dimensions resulting in line becoming surface. In the final section of the research the transition between interior and exterior became ambiguous as a result of using a curved continuous surface. Combining the investigations into the significance of surface, space and symmetry resulted in full-scale sculptures in which the exposure of the interior and the exterior of the forms were in equilibrium and simultaneous.