LC You use terms such as ‘liquid geometry’, ‘captured light’ and ‘brilliant incandescence’ to describe your practice. Can you expand on these phrases?

CE I guess they’re a kind of linguistic shorthand, to sum up the core of what I’m going for at the moment. Digital drawing systems allow you to create dense sculptural forms that haven’t previously been possible. Geometries can be far more complex than they could even ten years ago. Zaha Hadid’s practice, for instance, is a textbook example of how technology is changing the way we can explore form. Studying glass making, I became aware that Dale Chihuly, for example, creates a colour and kinetic interaction with light in his work, that I’m definitely keen to evoke. So trying to capture some of that effervescence and brilliance, by exploring light and colour densities, and embedding that drama in the work, is a key part of the process.

Chuck Elliott in conversation with Louise Copping. An interview originally published by Art of England magazine.