White Wave reimagines the sculptural object as a temporally charged phenomenon. Using his signature technique of layering painted transparent sheets, David Spriggs creates an art that feels both immediate and elusive, as though the force of a crashing wave had been held in suspension, hovering at the edge of becoming.
Rather than carving into mass, Spriggs builds with absence. His medium—transparency—does not subtract but accumulates, allowing light to traverse and activate the image as a dimensional apparition. The wave, a motif of perpetual flux, becomes here a suspended event: a force captured mid-transformation. The physical layers merge in the eye, forming something that is not truly there, yet vividly present.
The experience of Wave unfolds through the viewer’s movement. As one circles the work, the image shifts, suggesting multiple moments in time compressed into a single spatial gesture. This perceptual instability recalls the ideas of Maurice Merleau-Ponty, who described vision not as passive observation, but as an embodied encounter, an act shaped by the reciprocity between viewer and object.
