*Eucalyptus* instantly drew me to the esoteric curves of its numerous forms, in particular the lowermost element. Exploring the wake of this element as it moves through a void suggested grand arcs on a cosmic scale. Trying to capture the space carved out by its motion served as the backbone for this work. There’s also a delicate interplay of the staggered spears in the upper quadrant of *Eucalyptus*—the way they echo each other suggested a single element observed over time. I’m always intrigued by how Calder’s work seems to bend space. For me, trying to capture a version of that distortion of perception was key in translating how this work made me feel.

EUCALYPTUS 1940/2022

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When I look at *Vertical Foliage*, I’m struck by the delicate gravitational interplay between its elements. It’s almost a universe unto itself. This led to an exploration of what those notions invoke for me. A singular point of light explodes out into a plethora that details the underlying connective structure of *Vertical Foliage*. We see the mobile in way not seen before. As those forms begin to arc out through space, we start to get a sense of the infinite complexity required to describe all the subtle interactions at play between the elements of the mobile. There are layers upon layers of tugging and pushing as it glides through time and gravity.

VERTICAL FOLIAGE 1941/2022

I was intrigued by *Tines*’ ability to elevate simple everyday objects. Reality is fascinating when you alter our perception of its scale and relativity. The similarities of the atomic structure with rings of electrons and its mirroring of solar systems always intrigued me. I wanted to explore blowing up these elements to the scale of galaxies. What does a simple shell feel like when hung in the stars at the scale of planets? I was also interested in the potential energy of all matter and as such the potential energy of art.

Calder could see that these objects had the potential to move beyond their default rudimentary purposes, or at least by contextualizing them within his work, he managed to transform them—a form of artistic alchemy. I’ve depicted them here brimming with energy and flow—a reference to the latent potential in all things.

TINES 1943/2022

It’s an interesting anomaly that light is pulled towards a black hole, and that hole has a horizon that light cannot escape, a barrier we can’t perceive beyond. Calder’s mobile possesses elements of this ineffable quality. They are at first impression beautiful, but also comprehensible. Having studied these works intently, their secrets start to unravel, start to suggest things well beyond their physical bounds. They seem to talk about the nonspace that surrounds them and that stretches out beyond what is perceivable. Trying to capture that ineffable quality was the driver behind the black hole imagery used in this piece. I wanted to evoke some of the mystery Calder has invoked in me.

SNOW FLURRY 1948/2022

This 1956 work by Calder seems to hang like the heavens above you. It defines a barrier that feels almost tactile while being transient—not dissimilar to trying to perceive the end of the sky. Floating along the edge of the stratosphere as if weightless and unbound by physics was the goal for me here. I’ve presented this work in a landscape format, which best captures the scale of Calder’s forms. The monolithic quality of the elements instantly takes me to an almost Kubrick-like space-heaven. I wanted to depict these forms as giant dark brooding bodies in space, passing overhead.