Extruded Islands depicts the properties of large physical objects such as glaciers and islands and the ways in which these exceedingly large forms or hyperobjects can symbolically manifest the states of being that we inhabit. It is a part of the “Biolith” series which explores the connection between human memory and ecology through sculpture.
Extruded Islands, which was created in London specifically reflects my desire to “place” myself within my local environment while reflecting upon the “memory” of geological time. The sculpture is informed by the shape of glaciers which are larger below the water line than above and the way in which experiences and awareness may also be compounded in the individual over time in unseen or submerged yet connected space. In the case of Extruded Islands, the base of the sculpture mimics its middle, as if to suggest a continuous, recursive cycle that disappears below strata while the top floats above and in space as if to suggest that we are all somehow [also] floating in the ether or substrate of our hopes and dreams. The fractal geometry of the form also suggests transparency and permeability, much as one might find in the structure of cells and certain materials.
Dreaming of islands—whether with joy or in fear, it doesn’t matter—is dreaming of pulling away, of being already separate, far from any continent, of being lost and alone—or it is dreaming of starting from scratch, recreating, beginning anew. Some islands drifted away from the continent, but the island is also that toward which one drifts; other islands originated in the ocean, but the island is also the origin, radical and absolute” (10)
From the Deleuze collection: Desert Islands and Other Texts, 1953-1974