“When we understand an important equation for the first time, we glimpse deeper structures to the world than we suspected, in a way that reveals a deep connection between the way the world is and how we experience it.” -Robert Crease
These works are all a part of an ongoing theme,“Aequare Contemplations”, which explores the language of math through the meditative process and visual language of Tibetan Buddhist sand mandalas. “Aequare”, the Latin root for equation, means to make even or level. By representing the equations with the visual language and symbolism of the Buddhist theology; the work intends to comment on the both the human genesis of each contemplation, as well as the transformative nature each language provides in understanding our own impermanence.
Each image within the theme utilizes a combination of both an equation, deemed beautiful or important by various cultures, and the visual language of the Buddhist theology; specifically the characteristics of Tibetan Buddhists, as this practice creates mandalas from sand as a meditation on impermanence whilst practicing analytic meditation (intellectual analysis used to generate a deep understanding of a particular virtuous object). The thesis, first propounded by German mathematician Frege, that mathematics is reducible to logic also aligns to Tibetan Buddhists belief that a person's capacity for analytic meditation can be trained with logic. In both aspects, through visualization one learns to understand experience itself as pure, and as an abode of enlightenment.
The equations are further represented visually by usage of the Eight Auspicious Symbols of Buddhism: a Conch Shell, a Lotus, a Wheel, a Parasol, an Endless Knot, a Pair of Golden Fishes, a Victory Banner, and a Treasure Vase. Using the symbols and colours found in Tibetan Buddhist practices, the project intends to correspond the Eight Auspicious Symbols with eight separate equations.
"A Move for Change" is a joint collaborative photographic/text project by Kate Jo and Vaughan Judge.
The work is a series of colour portraits of women who had moved to the UK in the interest of a better life. Whether that means they moved for love, education, family, freedom, etc. To compliment each portrait there is a brief documented story detailing each individual's immigration journey to the UK - the "stories" of where the woman had been and why she chose the UK (or why the UK chose her).
This is an attempt to investigate the often untold stories of women who embrace the courage to change their lives. Although the individual reasons vary, these women have found a common strength in starting life anew.
This series of work explores light, colour and form by sculpting a moment of inertia.
The mosquito nets act as ethereal anchors for the fixed pulleys which suspend domestic furniture. The simplest theory of operation for a pulley system assumes that the pulleys and lines are weightless, and that there is no energy loss due to friction. It is also assumes that the lines do not stretch. With these assumptions, it follows that, in equilibrium, the total force on the pulley must be zero – thus the collective assemblage of the nets harness enough force to suspend a substantial weight.
As “furniture” is the collective term for the movable objects which may support the human body (seating furniture and beds), provide storage, or hold objects on horizontal surfaces above the ground – the images study the contradiction in weight, function and form between the nets and the domestic furniture.
"To Market" is an installation which observes the history of Glasgow's Dennistoun area - specifically, the history of the cotton mills and bird markets that once inhabited Cochrane Street (formerly "Cotton Street") and the Great Eastern Hotel. In the 1800's, one of Dennistoun's main trades was cotton - the town was host to the city's cotton brokers, spinners, and yarn agents, Directly across the street from the cotton industry were the Bird Markets. They are what they sound - a cluttered market of local and exotic birds. These seemingly disparate industries fueled a budding aristocracy in Dennistoun - the cotton mills brought in prosperity whilst the exotic bird markets signified the extravagance of superfluous wealth and status.
The installation comprises of a restructured cotton jenny, harkening the days of the cotton mill, which is referencing the processing of cotton. The cotton threads lead to a series of over populated and inhospitable cages - housed in which are wingless birds. The birds not only represent the thousands of workers and those without homes who have found refuge at the Great Eastern - but they also nod towards the bird markets of Glasgow's East End.