In 2003 I exhibited a new body of work ‘Light Constructions’ for a solo exhibition at Arai Atelier Gallery in Tokyo which provided a pivotal opportunity. I was frustrated by not having control of how my work was displayed and its context and it was also an opportunity to consider a new body of work as a whole. All of the pieces were white or transluscent bioresin and silver and exhibited in such a way to accentuate their shadows. I wanted to explore qualities of light, space, transparency and absence made visible. My sources of inspiration were an interest in objects in series, and abstract art that reduces materials, forms or abstract qualities to their essence. All of the work in this exhibition were bangles or rings with repeated forms to aid direct comparison of their visual differences. This neckpiece was one subsequent series extending these ideas into necklaces using moulds made from eggs: quails, hens, ducks, geese and ostriches. I was interested in their sculptural qualities rather than any symbolic connotations and how they sat together when repeated. Within a neckpiece they make a collar that frames the face and although being quite large, are visually and physically light. The piercing of each piece is a compelling transformation making the interior visible and creating tension between the overall form, its surface and it’s enclosed space.
Sarah King, November 2015.