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I discovered this number sequence used in the Horizon series during an extended stay on Eilean Shona, a small island off the West Coast of Scotland - an extremely remote environment, with no electricity, no telephone reception or any means of contact to others, and accessible only by kayak - a place of unspeakable wilderness and beauty. There the elements play out their grand rhythmic movement and pattern without disturbance, each element and detail existing tightly woven into its precise place and role within a complete wholeness which incessantly changes and remains the same all along. There I saw Nature, I was able to see Nature for the first time, as it is without me, without me looking. I was not part of this wholeness.

 

This outsider view on everything outside of me, this absence of my own 'subject-hood', was the most profound experience. It has fundamentally shaped my view on how-I-am-in-this-world  - and on Art. 

To focus on elements in Nature which are constantly moving whilst their essence remains unchanged: the shape of a waterfall, the relentless movement and rhythm of the tide and waves, the shape of a spiral shell seemingly turning upwards: movement without moving. In an attempt to understand the structure and 'movement' of a spiral shell - seemingly growing from one point as if out of nothing and widening -potentially infinitely- outwards, I started to relate numbers to this shape. Intuitively I began with 9, a value large enough to manifest within the paradigm of my work in wood, and stopped randomly at some point to add up the values: the result was 240, which  happens to be exactly the length of the wooden sculptures in centimeters.

 

 

Surprised by this coincidence I applied this number sequence to my basic tool / the infinite loop as a coordinate system structuring the circle, as well the lines in drawings and balsa models - which resulted in chessboard-like patterns, as if drawn in perspective, outlining a horizon and vanishing point.

 

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The Visual Field