There’s this cycle of resistance and acceptance that we go through. And we cycle through these states-of-being in each new moment of time that we live through – either with fear of “a new”, or desire for “a new”. There’s a part of this cycle that connects the internal to the external i.e. the emotion to the change, which in turn always leads to real-world consequences.

This work explores the role of instinct, perspective, and interpretation in this never-ceasing process. 

Along with being part of the narrative in the Personal Hieroglyphs series of works, Hope and Change (and its constituent parts) is not only about these cycles of repetition, but is also one of the first works in a new series where the artists ideas of divisionism and its relationships with language and meaning are taken far more literally.

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***Aspects of this work not elaborated on above (full detail page reserved for interested enquiries)

1. Separation of the work itself into sections, the individual identification of these sections, and re-definition of the "visuals" of a sunrise or sunset scene 

2. The significance of Morse code as a simplified model for that of all language, and its use in this work

3. Significance of the ideas of 'self' and 'self-concept' in this work. (I am/ Am I? in Morse code occupying individual tile impressions on Part B)

4. The construction and significance of the pedestal

5. The likeness of the cone and pedestal to that of the candle itself… in other words B is actually a deconstructed version of A 

6. The conceptual/ figurative dissection (tilling) of the Part C (with use of wire grid) vs visual dissection (tiling) vs literal dissection (stacking)

7. The conceptual significance of the nail/screw

8. The significance of the birthday candle and (birthday cake) knife as a modern-day symbol of life and death. Also, the significance of the candle rolling off the canvas and not in strict perspective as with all the other works.