The Edge of the Sky is an exhibition/installation comprising a series of large format digital prints on vinyl, the sort of medium used to produce advertising banners. Each image will be framed in wide black frames that are constructed so they can be easily dismantled. This makes the exhibition portable, as the pictures can be rolled up.

The images are digital photographs of predominately clouds with various objects intruding into the frame. These sit on the edge - Thus the title of the exhibition.

The skies are everyday clouds, sunsets and sunrises, storms. Occasionally there intrudes a bird, aeroplane or the moon to provide a figure in this otherwise ethereal landscape.

The clouds can tend towards solidity of form or break up and become Turneresque and Rothko-like abstractions. But this is balanced by the heavily delineated frame that gives the image object (or sculptural) status. The objects on the edge of the image, and the frame, provide an architectonic structure to the formless skies. Power lines divide the spatial plane with sharp linear angularities. An unsteady discordance develops as everyday objects become striking compositional elements in the tradition of impressionist painting.

The installation also includes a looped digital video of the same sort of sky projected onto a wall. This will however include some minimal movement; the clouds drifting across the sky, the occasional bird and what have you. The sound is the sort of incidental sounds we take for granted as we stand in our suburban street: vague noises, distant conversations, cars, an isolated shout or birdcall.   The slowness and a seemingly complete lack of focussed content has a mesmerising effect, as though one were standing, waiting, only slightly aware of the environment. The thoughts of the viewer   are the stray thoughts one normally has in this sort of real situation. This is the quintessential suburban experience.

The work is conceived in the manner of serial art, where one object needs to be seen in the context of the other objects so that the exhibition is a single whole rather than simply individual pictures. The pictures are not constructed in the sense that they are purposefully composed but rather taken very much at random. The images are then carefully selected. The process of selection and conception is the creative process in this artwork. (I refer here to the photographic work of Robert Rooney and Ed Ruscha.)