‘Kalopsia’, 2017

It’s a question of critical mass; no single observation in itself could prove it, but the amassing of thousands, millions of observations that link together to form a set of conjectures that are verified and falsified and form a theory is something that begins to look robust, dependable.

Harvey, S. The Shapeless Unease: My Year in Search of Sleep. 2020. p185

Materials: reclaimed mirrors, metal armature, intermittent sound from tumble dried cut crystal vases

What if sculpture and installation pre-supposes an answer. If there is no answer and we go from there, sculpture and installation does not have to be an object, environment, form, space, or time until it is perceived through the lenses of space and time.

Sculpture and installation, like film, is myth making, but can contain truths hidden amongst reality.

Downgrading an electric clothes dryer into a hand-cranked kaleidoscope, in which, to record the sound of crystal ware breaking down, Forrest-Beckett installations are centred around breaking down ideas, to simplify how connections can be made, through simple, rotating devices, such as a rolodex, rotating postcard stand, or the prospect of a bike pedal generating a set of slide projectors to back project and illuminate a dancefloor, or, generating the power to illuminate a dancefloor through dancing, without electrical means.