The underground p.2

Metallic honeycomb protects coloured wires from exposure. Red and blue line aluminium, shooting throughout the ceiling, which is constructed from yellow musk tiles. There are four visible, arranged as hopscotch, littered with drill holes. Twin, thin wire is trapped between the chicken wire and tiles, as if lacing the metal work together, a small line sewing the ceiling. In addition to this, three black plastic ties are used, two in the centre and one on the right-hand side, seemingly not strong enough to hold an important structure. To the right there is also more metal, the grid is stopped with rough edges, disappearing in front of steel, curved to follow the shape of the wall. Extending from this edge there is more plastic, creating a horizontal curve to the left, once again framed by hard metal, two pieces that create a step, building the plastic away from the ceiling, crossing the thin wire, which holds another black tie, this time horizontal. Further towards the centre there is a piece of re, possibly a reflection of light, trapped between the honeycomb and base. There are two steel hinges, attaching a vertical metal bar to the ceiling. This is also secured to the plastic, crossing with a bolt, one of four, all screwed in at equal intervals throughout the plastic. A blue vertical wire pierces the yellow, slicing through the exposed area. This is framed by more thin wire, leading throughout the frame. There is a red wire too, of the same thickness and brightness, once again shooting through the area, alongside eight more slices of metal, the edges lit by an unknown source. 

The Underground

 A collage of diagonal lines is mirrored through sharp steel shapes, converging towards a silhouette of a human figure. The female can be seen wearing a coat down to her knees, although it is unclear of her identity. She has long light coloured hair, tied into a pony tail. The coated figure is stood in front of a grid, tiles which are reminiscent of a swimming pool, however not under water. This semblance of water is repeated through advertisements which are reflected by the metal. Corrugated teeth form horizontal steps, which get closer towards the woman, interrupting the pattern of line. Twenty-five can be seen, before they are merged by light. This light stems from seven white holes, overhead and once again converging to the centre, but cut short by an arch, separating the ceiling from the moving ground. Disappearing into the reflection, the steps give a gradient affect, suggesting an ongoing illusion of foreverness, as if you will never reach the top. Combined with the isolation and cold metal, the escalator appears eerie, as though you are lost within the geometric lines and forms of the underground.