The earliest works were linear steel structures, which described pockets of space, while having very little weight in relation to the implied volumes. The later works in this exhibition were stone concentrations within the landscape. Like markers or punctuation, they affected the space around and between them, while their internal nature was reduced to a dense core.
The pyramid piece kept this sense of being a compact feature in a broad landscape, although it was much larger. It was built from some 29 interlocking stones, which together formed a complex, pyramid like structure. Through the multiplicity of parts, however, emerged a simpler broad form. The components varied, and went together in patterns, which tended to run against the overall geometry of the sculpture as if in counterpoint.
Each stone was worked separately, with special attention to ‘beds’ and ‘joints’ (i.e. horizontal and vertical butting surfaces). As the work was assembled, individual stones found their roles in terms of the total work, yet as a result of their separate origin (including perhaps the individual handwriting of several masons involved) the stone still retained a degree of separation.