Using forms based on the architectural landscape of Chicago, in particular Frank Gehry's Pritzker Pavilion, these sculptural works are equally abstract three dimensional propositions and a dissection of representational two dimensional space. Imparting on the viewer a sense of depth Richard Blackwell's works provide a contrasting look at the duality of intentionality and self-questioning.

Although Blackwell's works are slick and highly accurate, their material is domestic, mass produced and readily available. A process of cutting and scoring transforms the everyday black laminate surfaces utilised in his work into something new and dynamic. Equally, this new material quality gives the shapes a sense of texture and synergy. The flatness of the intentionally exposed MDF edges meet with the shadows created by the works purposeful distance from the wall, serves to further codify the nature of illusion occurring within the works.

As though something virtual was fighting to become real, the ribbon like forms of Blackwell’s wood veneer pieces are derived from the sculptural works by Richard Serra on display at the MoMA. These sculptures share many similar intentions to the black laminate works. Unlike the purely architectural line of the former works however, these pieces employ a use of natural and digitally synthesised wood grains to further explore the dualistic contrast between the 'real' and 'virtual'.

Artists Statement:
'My intention is to create work which intersects divergent contemporary realities. These include the finite spaces we physically inhabit, the built environment we place in those spaces and the architecture of virtual reality that we produce and is infinite. I seek to create a platform that reveals (to some degree), the condition of being an artist and the action of making things in that context.'