Paginton's work is about an imagined environment, in which houses are grown. These giant living plants of the future have the ability to both shelter and feed humans. His artworks embark on a Jules Verne trip for the 21st century. The work is called Parasight, beyond view, and looks to a time when humans become the parasites living in and from giant genetically engineered plants.
He has had a persistent fascination with organic forms. His early forays into the world of free form sculpture revolved around concrete structures that incorporated automobile components such as the crank down car windows and the curved glass of windshields. These early works were a learning experience, proving to be labour intensive and time consuming. Concerns over developing an improved assembly method resulted in the realization that growth, or the self assembly methods of living plants offered considerable potential, particularly given current advances in genetic engineering. This sparked a series of drawings, paintings and sculptures that give a glimpse into this future world of giant habitable plants.
Like an extension of Jules Verne's fantasy the work deals with the form of grown organic buildings in a time to come. No longer would we cut down trees, mill them into lumber and then assemble them into conventional rectangular buildings. Through genetic engineering he envisions the development of specially designed giant plants that grow into living habitable structures. These giant plants would not only shelter a human population but they could also feed us too. Rather than having cupboards, kitchen walls of the future plant house would sprout with a variety of vegetables and fruits.
The ability to grow our own nutrients within individual living plant homes would have a profound effect on our civilization. The indoor personal mini farm would be a revolutionary event eliminating the need for field farming, farmers, tractors, fertilizers, trucking and the vast system of food distribution we now have. Human settlements have evolved through long ages and material change. Starting with the use of stone tools, followed by bronze and iron utensils, we are approaching the age of manipulation of living plant material. It is the form that these new age giant plants will take that sparks Paginton's artistic endeavours.