A collection of cedar cabinets that incorporate a form of localised ‘ebonisation’. Although the forms are simplistic blocks, the steel hardware, stripped of its protective zinc coating using acid, reacts with the tanin in the cedar. This produces bleeding patterns on the wood that in turn emphasise the actual complexity of the organic material.
I intended a double meaning in the use of the word ‘Bleed’. On the one hand the steel is bleeding into the cedar, but I am also interested in the point at which a regular man made form takes on character, the point at which nature takes a foot hold in the things that we create to drag them back down into the mud. The man made becomes mortal again.
The Bleed series is shown with Sarah Myerscough Gallery, London.