Aker is a reflection on form, geometry, and perception. Layered aluminum sheets, precisely cut into diminishing geometric shapes, converge into a concave circular structure that simultaneously draws the viewer inward and radiates outward. It becomes almost portal-like. The interplay of sharp industrial edges and converging shapes creates a tension between structure and movement. The concave form, reminiscent of an iris or camera aperture, suggests the mechanics of vision, with its central vanishing point acting as both a focal point and an absence.
The work’s layered construction follows a distinctive strata perspective, where each layer or stratum remains distinct yet merges into a cohesive whole. This approach recalls Renaissance explorations of spatial depth such as Brunelleschi’s linear perspective but reimagines them in physical layers rather than illusionistic space. The diminishing shapes create a sense of motion through time, inviting the viewer to experience form as an evolving sequence rather than a fixed state.
Aker continues Spriggs’ recurring exploration of circular and half-spherical forms, seen in works like Vision and Gravity. More than a geometric structure, the circle serves as a symbol of wholeness and continuity. Yet here, it is also destabilized, its center left empty, turning absence into an active element. The void at the core invites contemplation of perception itself, suggesting that what is empty is just as integral as what is visible. The concave curvature amplifies this effect, creating a gravitational pull that confronts the viewer’s sense of space.
Unlike Spriggs’ spray-painted works, which appear ethereal and weightless, Aker asserts its physical presence.
