One Minute To Twelve

It is with much irony then, that Parsons titles one of his works Alphabet. He is referencing a conversation between white and orange; and between elements rectilinear, circular, horizontal and vertical that while placed at a discrete distance are quite actively engaged. Visually, he constructs a rhythm that is almost musical - and that rhythm involves spatial play that is both harmonious and dissonant.

Braille is another (spatial) code that Parsons plays with. Depart reads with a wonderful ambivalence. Its braille-like bumps look at a distance, to inhabit both positive and negative space - in exactly the same way as the tips of the bracket-like, attenuated form of the sculpture probe ambiguously backwards and forwards into our (the viewer's) space. Quite literally then, things come and go with this piece. Hence its title, and that's without any ability to read braille.

Feel Free looks braille-like from a long way back - in a piano keyboard sort of a way. While The Shortest Day bristles with a greater stature - more the anodised blue of organ piping (beneath its body of brushed steel) - than the delicacy of the "ivories" opposite.

Selected works