James Woodgate (b. 1990). Lives and works in London.

The foundation of his sculptural practice is an attempt to decipher the origin of syntax through the perception of analogy. By exploring the validity of contemporary models of form he aims to locate the limitations of our existing paradigms.

By distilling this infinite ontological study into its finite constituent components he aims to gain access to a universal syntax, the origin of which he believes can be obtained by refining the prototypes we use to evaluate abstract form. This distillation is punctuated by the abstract forms he produces in my sculptures, each one attempting to utilise a solitary component of his studies as its armature. In turn the works and the theory exist in a symbiotic state only functioning as conclusions when considered in unison.

Both material and process contribute to the final resonance of the piece; each piece is comprised of a small number of meticulously manufactured elements adhering to strict specifications pertaining to the theory in question. In isolation these elements remain inert, when brought together they create a unifying visual depiction, a visceral totem of the theory they attempt to explore.

Though the illusive search for a paragon of form is in itself hindered by subjectivity, the search as such can and has disseminated many ideas of its own. Consequently these ideas in turn add to or distort the maxims of form.