Blind Faith

Captivated by the light that flickered through obscured mottled glass window panes

not the clear replacement panes that disclosed unimpeded views

but the blurred panes

with softer lenses

where the light intermittently tripped.

Blind Faith, 2017 is a mash-up of several things:

• Witnessing the global financial crisis while working part-time in the capitals financial district between 2008 and 2010;
• Spreadsheets etched into the back of my eye while spending too many hours looking at them during my part-time job 2015-2017;
• The Tower from the Tower of Babel as a symbol of self-assured hubris among economists and the consequences and dangers of overreaching ambition;
• Reading about grey areas, firstly, in Hunter Vaughan’s book Where Film Meets Philosophy, which helped me understand how filmmakers work with ambiguity, to challenge what it means to think, and secondly in Susan Sontag’s essay The Aesthetics of Silence, which references artists who work with silence to express what lies beyond words. 
• The notion of a home being an elusive, complex thing to figure or subject to change.

Each unit is made from paper mâché which has a tendency to twist and torque during the drying process. As the tower grew taller it began to teeter, as each piece failed to buttress and reinforce one another.

At almost 5 meters, it didn't reach the heavens of the deconsecrated x-church roof, it teetered, then un-monumentally collapsed with a tumultuous applause.