[Submission for Master of Fine Arts Studies]

My current sculptural work stems from a fascination with exploring and drawing upon an architectural vocabulary. The focus is primarily on a small group of contemporary international architects, whose work reflects a sculptural solution to the built or drawn architectural form. Combined with these references is the proposed redefinition and presentation of the utilitarian role of furnititure. The aim of my investigation has been primarily to question and explore, the visual boundaries between art and architecture. My sculptural forms are composed from derivations from furniture and architectural considerations. Like many practitioners working in the arts today, my work draws its references and technical concerns from a broad spectrum of the artistic media, both from a practical and theoretical basis. I will be arguing in this paper that in a contemporary situation the boundaries between architecture, sculpture, and furniture are becoming less defined. My central argument is that architecture can be considered as a sculptural form and that conversly, sculpture can be considered as an architecture form. Practitioners of these mediums are no longer making clear separations in the process of creating an object or individual expression. Rather, they are drawing their sources and technical skills openly from across the medias, both for practical and theoretical perspective. In looking at our aesthetic environment today, many critics of the arts - including architecture - reveal a new direction, in which there is much discussion of a respective contamination of all the art categories. As a consequence, we are witnessing an era in artistic history where there are constant substitutions and a general confusion of the genres. Most medias are clearly focused on these issues. For many artists, this concern is indicated often intentionally through rhetorical, theoretical or practical means. Artists who consider themselves to be on the cutting edge of artistic taste and attitudes are using these concerns to their advantage, as they draw closer to the end of this century. It is a time in artistic terms of great confusion and uncertainty.