I collected various manufactured objects from my farm that had been disregarded, such as bikes, tires, rusting wheels and chicken wire. These were then welded, soldered and wired together to then be resurrected with light. In doing so, I was offered insights into the value and life-duration of man-made objects, allowing me to question the nature of discarding things as well as the relationship and juxtaposition between such and the organic world I derived them from.

Using only found objects the installation translates to a system of association - coordinating items to create one entire, almost Constructivist, entity. The installation radiates improvisation and simultaneously embodies the process of the human mind. Like a guidebook, it exhibits the human procedure of grouping things, whether by majority or minority, just as it has done throughout time. Whilst this process is conscious, its outcome is aleatory.

Like Vanitas or Janet Laurence’s Stilled Lives, the objects I chose are those of which my farms’ past-owners deemed no longer valuable yet chose to keep in the remains of their farm. This functioned as a conceptual apex for Found, allowing me to discover a personal interest in memory and the discarded.

Upon pondering the value and memory of discarded found objects, the death and rebirth or resurrection of such is considered. The ‘death’ of a bike or bike-wheel is the death of progression – the moving circle of life. In order to counter such, the contingency of grouping like-materials offered a chance to paint light upon the involuntary forms I created. In doing so, these items were perfumed in an ambience that brought them back to life. Not only this, but the installation is transformed into Interactive Art as the shadows change according to the viewers movement and viewing of it, creating a sense of metamorphosis. Thus, the chance to veil the sculptures in light offered by the flux of constraint created the character and engagement of the work.