In this new series the artist reflects on coral bleaching. The pieces seem to challenge perception, to be caught in a stasis between dissolving and resolving themselves. In this manner the artist’s statement that the work is ultimately a way of visually representing coral bleaching makes sense. Images invert, and it’s not always immediately clear if we’re looking at a form or the negative space of absent form. In this sense the work is about boundaries, that point of transition between being and not being. This is a fundamental definition of sculpture: the presence of absence, and Ebanks new series explores this in a very literal sense. Most of the coral patterns, the subject of these new works, are in fact negative spaces where the artist has removed material.
This inversion of form and space is most obvious in Blanc Quadrant, where the pattern has been carved into the surface of glass panels. The image seems closest to us in the center, fading into space at the edge of each segment of the grid, but actually the center is most deeply carved. The nearest form turns out to be the deepest negative space. What appears to be present is in fact not there. We are only aware of the subject by its absence.