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The desire to describe asymmetrical form using the language of geometry is a challenge; Architects look to give life to their work by the use of line and structure. Drawing from this palette, the use of plains and line has been an imperative element to articulate in the work; an exploration of describing asymmetrical shapes using flat plains. By distorting the geometry of the panels and the substructure the illusion of a flowing form is achieved. Constructed from plains of aluminum plates and a substructure of stainless steel, the contrast and resulting pattern of the two materials draw the viewer around the works. Although these materials are not translucent by nature, light is introduced to the work by way of spacing the panels over the structure, allowing the piece to billow on an imagery cushion of air.
In the more traditional side of his practice, Sean incorporates non-precious stone into his works with silver; this is done to heighten the use of such a reflective material. The process of creating the stone element in each piece is the starting point of the design process.
First selecting and then responding to the shape of the stone, allowing the stone to dictate the size and form of the silver element that is to be combined with it. The stones are then carved often leaving areas of the stone in its found state with the other areas polished. The polished area of the stone creates a pool of vivid contrast between that of the natural and the man-made, revealing the infinite details that lay beneath the weathered exterior of the stone. The stone elements provide an environment and interface for silver components to interact. Highly polished silver can appear to dissolve by reflecting its environment and taking on the immediate surrounds, distorting it within the form. The silver reflects the exposed hidden highlights and floats upon a sea of rich colours and flecks in the crystalline structure of the stone.