The piece has ten large dark murrini placed in random locations throughout the panel that are surrounded by a ring of clear that gradually transitions through grey to black.

 

The scale of this piece is important, as I wanted the viewers to see only this piece and nothing else when they stood close to it. The intent was to create something so large that it became all that the viewer could see, even in their peripheral. To the viewers’ brain, Force becomes a separate environment into which they could step.

 

By changing the usual arrangement of murrini from my usual style, Force results in gradients radiating around center points rather than a linear gradient from end to end and therefore seems more organic rather than linear and rigid.

 

As the gradients radiate outward, they collide with the gradients forming around the other centers and remind the viewer of how multiple drops of water ripple on the surface of a puddle and collide with one another. This was the initial idea of the piece and allowed me to change the format of the gradient to see if it changed the way the viewer experienced depth in the work.

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The large scale of Force allowed me to push the lengths by which I stretch the murrini by increasing the difference in mass density of the murrini within. Some of the murrini were forced to stretch well over six inches and some areas could show up to five or six layers of overlapping forms. This drastic movement was only possible in a piece of such massive scale and added a painterly feel of the piece.

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