David Spriggs wants us to rethink notions of space/time in order to achieve a new aesthetics of speed.  He asks us not to discard ideas inherent to Futurism — the notion of universal dynamism and the inextricable connection of forms to their environment — or Cubism — the concept of simultaneous multiple viewpoints, the deconstruction of the world around us — but to build upon them.  Since our world is a globalized one, influenced everyday by digital, communicative, optical and medical technologies, a new aesthetics of speed acknowledges the contemporary world's dynamism and seeks to represent the speed at which society's art, language, sounds, ideas, technologies, products and objects are changing.

To achieve a new aesthetics of speed, Spriggs suggest that virtual space be created and used as compliantly and abstractly as needed, that it can be fashioned, divided, broken, mapped, ordered and disordered, intersected, pushed and pulled, stretched, dissolved, or overlapped at will.  Out of this virtual reconsideration forms would emerge in incorporeal and amorphous states and would be experienced from every viewpoint — both inside and out — deconstructed or reconstructed, disrupted, contradicted and reviewed as many times as we like.

David Spriggs breaks free from the laws that constrict two or three dimensional art materials and uses any means possible to achieve a new virtual space.  He seeks not to become trapped in a programmed digital world.  He challenges the flatness of the screen and monitor.  He challenges the flatness of the image, the photograph, the painting and the three dimensional limitations of traditional sculpture.  He seeks possibilities for a sculpture of the incorporeal and a place for the representation of the immaterial.