There are several constants to Tommy Seaward’s process: his work is three-dimensional, always wall mounted and each piece is divided into three precisely spaced, vertically aligned segments.
The wall mounted, tripartite and vertical nature of the work means that the structural possibilities are bounded, nevertheless, within these set parameters Seaward’s work is strikingly divergent from piece to piece.
There is a strong historical cross-cultural precedent for the use of three, but Seaward makes no specific references to this rich antecedence, rather, he draws on the distinction between the dual and the many, which correlates to the plurality evident elsewhere in the work.
