Paul Lewthwaite

2001.
L: 42cm.
Lead, steel.

One of series of objects developed in response to accounts of unexplained phenomena and folk stories. Originally exhibited with accompanying texts, the series functions as physical evidence of fictitious events, or fictitious evidence of actual events, depending on viewpoint. Materials are out of keeping with the objects depicted.

2001.
H: 14cm.
Acrylic thermo plastic.

One of series of objects developed in response to accounts of unexplained phenomena and folk stories. Originally exhibited with accompanying texts, the series functions as physical evidence of fictitious events, or fictitious evidence of actual events, depending on viewpoint. Materials are out of keeping with the objects depicted.

2001.
L: 42cm.
Timber.

One of series of objects developed in response to accounts of unexplained phenomena and folk stories. Originally exhibited with accompanying texts, the series functions as physical evidence of fictitious events, or fictitious evidence of actual events, depending on viewpoint. Materials are out of keeping with the objects depicted.

2001.
H: 16cm.
Plywood, filler.

One of series of objects developed in response to accounts of unexplained phenomena and folk stories. Originally exhibited with accompanying texts, the series functions as physical evidence of fictitious events, or fictitious evidence of actual events, depending on viewpoint. Materials are out of keeping with the objects depicted.

2001.
H: 19cm.
Plastic.

One of series of objects developed in response to accounts of unexplained phenomena and folk stories. Originally exhibited with accompanying texts, the series functions as physical evidence of fictitious events, or fictitious evidence of actual events, depending on viewpoint. Materials are out of keeping with the objects depicted.

2000.
H: 85cm, L: 107cm, D: 16 cm.
Spray painted steel.

The kit form explores the potential of making and creating. To complete the 'ship', the sculpture has to be destroyed. It is the want to do something that matters - the point of departure. The end result is not the purpose.

2000.
Digital Print.

Instructions for assembly of Ship for the Sinking.

2000.
H: 70cm.
Spray painted steel.

This composition of simple geometric parts suggests an action has occurred. It is unclear how the original object or objects would have fitted together. Fragmentation is a recurring theme.

2001.
H: 64cm.
Spray painted steel, varnished manire grade plywood.

The matt black surface accentuates the compact form. Nothing is reflected. The self contained, closed structure functions as a singular entity. Blindness, in this case, does not refer to sight, but to perception.

2002.
Frame 37cm by 31cm.
Marine grade plywood, timber.

Four months of research and exhibiting in Madrid included time spent at the Museo Arqueologico. Drawings were made from ancient objects that had been lost, buried, flattened, rediscovered and displayed. The drawings resulted in this series of boxed wall-based objects.

2002.
Frame 37cm by 31cm.
Marine grade plywood, timber.

Four months of research and exhibiting in Madrid included time spent at the Museo Arqueologico. Drawings were made from ancient objects that had been lost, buried, flattened, rediscovered and displayed. The drawings resulted in this series of boxed wall-based objects.

2002.
Frame 37cm by 31cm.
Marine grade plywood, timber.

Four months of research and exhibiting in Madrid included time spent at the Museo Arqueologico. Drawings were made from ancient objects that had been lost, buried, flattened, rediscovered and displayed. The drawings resulted in this series of boxed wall-based objects.

2002.
Frame 37cm by 31cm.
Marine grade plywood, timber.

Four months of research and exhibiting in Madrid included time spent at the Museo Arqueologico. Drawings were made from ancient objects that had been lost, buried, flattened, rediscovered and displayed. The drawings resulted in this series of boxed wall-based objects.

2002.
Frame 37cm by 31cm.
Marine grade plywood, timber.

Four months of research and exhibiting in Madrid included time spent at the Museo Arqueologico. Drawings were made from ancient objects that had been lost, buried, flattened, rediscovered and displayed. The drawings resulted in this series of boxed wall-based objects.