Between The Eyes - Part 2

To make the sculpture I produced various models but I also produced a scale model of the buildings that were going to be present on the site. So, I had a full model of the two new buildings based on the architect’s drawings and the plaza and the street so that I could determine both the scale and the location of the sculpture. And the relationship to the buildings was always considered. And the contrast of the raw and skeletal character of the sculpture with the blocky, rectilinear and closed character of the buildings was always a part of the way that I thought about it. I thought that, but I thought the two should be in dialogue, but I never wanted the sculpture to belong to the buildings. I wanted it to belong to the square and the buildings were a backdrop.

So, as an artist I’m very engaged by the ways in which the things we make interact with the world with which we’re surrounded. And the geometry is both simple and complex. For such a big structure it actually has a very small footprint on the ground. And that was intentional. I wanted it to touch the ground lightly so that it was seemed to be an autonomous thing rather than something that was completely planted. And the stepping off from the plinth echoes that as well.

Titling for me is a complex process. It very rarely comes along in the beginning, but it probably comes along with the stories that I tell myself as I go along. And the notion of the sculpture being in the centre of this imaginary square, and the fact that it was an invitation to a visitor to stop and look “Between the Eyes” locates you. You know, it’s a central point. So it was to do with a measure, a horizon between the eyes, to do with the notion of dead centre. And it was also to do with identifying the spectator, that in a way as individuals we are, we are what we are between the eyes. 2:30