A sense of space which is not just a void but an integral part of the construction has informed Cohen’s work from the early constructions. The Japanese term ‘ma’, which may be defined as that ‘space or interval which is necessary to give shape to the whole’(2), Cohen believes is significant for creating a pictorial form which can also exist within the real world of the viewer.

“One of the big challenges for an artist is how to make an illusion of space appear real, and by extension find a way to make real what is in essence an invention. This invention is the product of a complex mix of the desire to see and intention to make, born of a synthesis of all those experiences gained from living within the world around us. The pictorial offers us a way to explore these experiences and reinvent the world we see, and at its best manifests itself in images and forms which challenge and enhance our comprehension. I believe that it is possible to invent with spatial arrangement which may be clearly defined and yet also open to interpretation, for while the picture plane may be viewed as a window onto an illusion of space, it is also the surface upon which spatial reality may be rebuilt.”(1)

One spatial implication raised in the linear aluminium constructions of the 1980’s-mid 90’s was the question of how perception of space could be challenged by the orientation of elements in relation to each other. Certain visual phenomena became of interest with linear elements appearing to curve and by noting how changes in movement and light affected the viewing of a piece.