The idea for this work grew out of some experiments combining drawings with three dimensional objects at the Ortona Armoury Residency in Edmonton. These attempts became quite physical - a realization that, in this case, drawing alone seemed inadequate.

The white pulp paper sculptures are modelled from the remnants of a metal spindle used to rotate threshing wheels. The canvas binder also belonged to an old thresher-binder machine. The shapes and materials struck me as deeply organic as well as manufactured. I was also pleased to be able to reuse found materials - something that is of increasing importance in my practice.

The potential for the use of sculpture, light, shadow and video developed in the studio and during installations. I was attracted to the slow, unpredictable, independent movement of the mobile sculptures - as if there was a conversation taking place or a dance in slow motion. Where does this begin; in the mobiles, in the shadows, or with the white shapes that appear both real and ephemeral on the unfurled binder panel? They echo back and forth, distorted, like our memories.