In Fugue, colour is manifest in glass vessels. Via their transparency and refraction, colour becomes light – light with all its readings. These vessels are open and appear empty. Yet they contain air and light. They refract light to project colour on the surroundings creating subtle soft atmospheres. Glass is a hard material. In this case as a surface it reflects colour and image. In the reflected surfaces we witness a micro-macro interplay. If we get close enough, we see ourselves looking, we see the distortions of the surrounding space. As a metaphor for our place in the world, this is powerful. We see ourselves placed amid a symphony of colour, amid a cacophony of times and spaces. We can see a micro world reflected on the transparent surface of a single vessel, now multiply this by 100 and you begin to enter the endlessness and beauty of David Sequeira’s world.
The shelf upon which these vessels sit exists not only as a support but also as a timeline that we move along. As we move, our perceptions shift. We engage with the passage of times, the movement of colours and the moments of colours. Transparencies, opacities, intervals, densities are revealed. The singular form overlaps with others to become multiple, creating new unexpected relationships of colour and form as we pass along. These dynamics are created by our own passage, by our movement. This results in a slow durational unfolding awareness of what I can only term beauty.
Melbourne, November 2018.