The last two rope lights were covered, the connecting power sources were all made more discrete [thanks Murray] and I got to play around with how the ten rope light brinicles behaved in the gallery space. This was the fun part – playing with how these linear sculptural works could disrupt the space and also how they interacted with each other. It was also the point where the actual science of brine tubes was left at the door and artistic licence kicked in. The conversations that I was having with the art works reminded me of art school where my principle lecturers taught traditional sculpture. Here I was concerned with how the works touched the floor and also shifting the negative spaces between the elements to activate them. With this work, much like the original What Lies Beneath work – the negative space is as important as the positive.
Apologies for the grainy/substandard ipad documentation. All will be revealed later when I post properly documented images and also the timelapse of the install in the next post.

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