Temporary installation in marble dust commissioned for Situation Leeds Festival of Contemporary Art
Coloured by light from the stained glass windows above, an ephemeral blanket of geometric patterms based on Islamic architectural design stretches up the aisle of a deconsecrated church from the entrance to the altar.
The employment of geometry in Islamic art and decoration reflects a widespread taboo on religious depictions and exposes the distrust of treating material objects as spiritual or divine. Placed in a Christian context where icons are used freely in worship, we experience in union two highly contrasting methods of representation.
As the church interior crumbles, the walls erode and the stained glass loosens and falls, so the meticulously arrange dust is kicked, windswept and dislodged as visitors tread paths across it. The name of the piece is taken from the maths that was used to create the pattern, yet also alludes to the co-representation of two faiths in one place of worship.