‘Unknown Chelsea #3’ forms part of a series depicting what appears to be a cluster of architectural shapes assembled into a unit. The origin of these forms is always a image taken by Alastair with a 35mm camera and then processed digitally, although the final outcome retains a very distinctive organic feel.
Alastair considers ‘Unknown Chelsea’ like a series of follies, which are hybrids of decoration and architecture: they look like architecture but have no practical use. They are, r…
‘Unknown Chelsea #3’ forms part of a series depicting what appears to be a cluster of architectural shapes assembled into a unit. The origin of these forms is always a image taken by Alastair with a 35mm camera and then processed digitally, although the final outcome retains a very distinctive organic feel.
Alastair considers ‘Unknown Chelsea’ like a series of follies, which are hybrids of decoration and architecture: they look like architecture but have no practical use. They are, rather, ornaments. The artist is interested in these details, and how they can easily be over-looked or dominated by the building as a whole. By taking these forms away from the building he allows them to form their own sculptural personalities. These works could also be reminiscent of the impossible constructions of CS Escher, in which one spatial element becomes an interlock or interphase giving onto another, in a way that is at once logical and paradoxical, and which explore notions of architecture, infinity and logic.
‘Unknown Chelsea #3’ is an archival pigment print printed on 315 gsm Cotton Rag paper. The edition of 50 hand numbered and embossed prints has been approved by the artist and comes with a signed certificate of authenticity.
Show more…
Stephen Beddoe said:
"Willey’s work represents and subverts the architectural landscape and motifs of the city, with a particular interest in and emphasis on London. The resultant works are beautifully crafted, composed and resolved."